Adriana also explores the evolution of Kizomba in London, the challenges of promoting events, and the differences in Kizomba scenes globally.
To connect with Adriana check her out on:
Instagram: Adriananeves1707
Facebook: Adriana Neves
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Visit our website: https://kizombaconversations.com/
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Chapters:
00:00 Introduction to Adriana and Kizomba Journey
01:06 Adriana's Background and Dance Experience
10:19 The Evolution of Kizomba in London
16:43 Challenges as a Kizomba Event Promoter
27:20 Comparing Kizomba Scenes Globally
40:08 Secrets to Success in Kizomba Events
49:30 The Impact of Kizomba on Adriana's Life
55:26 Future Aspirations for Kizomba
57:22 Upcoming Events and Collaborations
TAKEAWAYS
Adriana is a professional dancer from Brazil with a rich background in various dance styles.
She discovered Kizomba in Portugal and it became a passion of her life.
Adriana opened her own dance school in Portugal, offering various dance styles including Kizomba.
She emphasizes the importance of teaching and the patience required to be a good teacher.
The Kizomba scene in London has evolved to include a diverse audience beyond the Afro-Portuguese community.
Finding a suitable venue is one of the biggest challenges for Kizomba event promoters.
Adriana believes London is spoiled with high-quality DJs compared to other countries.
She aims to educate people about Kizomba culture and music.
Adriana is open to collaborations with other cultures to create unique dance events.
Consistency and quality are key factors in the success of her Kizomba events.
SOUND BITES
"Kizomba is a passion, Semba is a love."
"The secret is consistency."
"Finding the right venue is the hardest part."
TRANSCRIPT
Victor (00:10.952)
So welcome back to another episode of Kizomba Conversations. As always, I'm your host Victor and today we're joined by another super guest. Now this person is a triple threat. So what I mean by that is that they're a great dancer, they're a great teacher and they're also a club promoter on the Kizomba scene in London. So let's welcome the wonderful Adriana. Adriana, how are you? Very well, thank you.
Welcome. Thank you for being here. Thank you for having me. No problem. I know it's been a long time in the making and then we finally got you here. Yes, finally. Absolutely. And we're here to talk about all things Kizomba. Because I know that you've been on the scene for a very, very, very long time. And obviously you run club nights in London. Very good club nights as well. So we want to talk about all those things and just your Kizomba journey, if that's all right with you. Of course. Of course. Okay. Fantastic. So on the podcast.
The way we start is we want to find out initially a bit of background about our guests. So generally outside of Columbia, we want to find out a bit about who you are. Okay. So your background, your history. So that's where we start. So are you able just to tell us who you are? Talk to us about your background Adriana. Okay. So, I'm originally from Brazil. I was a professional dancer. I used to perform in a professional dance company.
The style of dances that I used to dance, was contemporary, modern jazz, classical ballet. And then I kind of started going towards baron dance and Latin dances. Kizomba, was one of the genres that came very late because I used to go in Brazil for a lambada club.
And there they used to play lots of Zouk. As you know, Zouk come from the Caribbean islands and we have a really good connection with that style of music and dance. And then Brazilian people used to dance as Lambada. And one day, this back then in 1995, I was in one of these clubs that I used to go to dance with my friends and I saw a couple dancing in the corner. Together, that
Victor (02:33.23)
that way of dancing that I haven't seen before. And I was like, my God, what is this? I love it. I didn't know what it was. This is in 97. Then in 1990, no, this was in 95. And then in 97, I moved to Portugal. And then I saw lots of people dancing that way, which I saw two years prior. And I was like,
I've seen this before and then I wanted to know what it was and I found out Kizomba and since then became a passion of my life and I've been dancing Kizomba socially to the point that I used to go to clubs and one of my best friends is from Cape Verde
And she used to take me with her to dance Kizomba in the African clubs in Portugal. And then about 1999, 2000, I opened my own dance school. And in my dance school, we offer all styles of dances from barroom to salsa to Argentinian tango and Kizomba. And I got in contact with this.
very nowadays very famous Kizomba teacher which is Petchu. Yes. It was my first teacher because I first learned how to dance in Sochane and then with Petchu I start to give my first steps to learn how to teach because one thing is to dance another thing is to teach as you know and then with Petchu with the Petchu support I start learning as well how to teach
And yes, I carry on my career as a dancer, as a dance teacher and Kizomba came and when I realized just took over. It takes over everybody, right? They come to this dance, absolutely. Okay, so you were a professional dancer then. Yes. So talk to us about that experience. Where did that take you? How did that go?
Victor (04:44.545)
So I performed when I was in Brazil, I performed all over the country. We travel, we did musicals. And then when I moved to Portugal, I carry on performing. did a musical in Portugal as well. And then the dancing take me to cruising. Yes. With the cruising, I was performed to a French dance company. And we perform traveling around for the passengers.
And I had the opportunity to travel all around the world. then, in 2010, I decided that I need to kind of, slow down. And it was when I moved to London and I decided to retire as a dancer, but continue only as a dance teacher. see. I see. Okay. So that's kind of the influence for some of your boat parties that you have in Columbia, I'm guessing. Yeah. We'll talk about that a bit later. Okay.
That's where it all started. Okay. So you mentioned Petchu as well. So for those that don't know Petchu is a renowned Kizomba teacher. So you said you got in contact with him. So how did you just reach out to him or how did you initially get that meeting going? No, because when I had my dance school, my dance partner back then, he had the background in barroom dance and we went to Lisbon to do our training because I was living in Porto.
And we used to travel to Lisbon once a month to do our teachers training. And via people from the dancing scene, we were introduced to Petchu. And as I was already passionate about the dance and then having contact with Petchu. And we actually bought Petchu a couple of times to Porto to do workshops to our students. And I don't know if I can say that.
Please don't. know that Petchu wrote a book and he mentioned that. Okay. He mentioned that myself and my business partner back then were the first people who bought him to Porto in order to give him an opportunity to teach in the north of the country as well. Fantastic. Fantastic. And how was the classes with Master Petchu? The intensive trading, how was it? Petchu is...
Victor (07:05.876)
very funny. He's very energetic. He's always good fun, is what I can say. But he takes really seriously his culture. He has a traditional performance group and he's one of the people who really invest in spread the culture. His culture
to the world and he does this with distinction. believe so. Absolutely. You definitely get that cultural influence from him. Okay. So just in terms of Kizomba then in terms of teaching, because you do teach, but what inspired you to become a teacher? Because it's not easy to become a dance teacher. So I just want to find out that what inspired you to be a Kizomba teacher in particular?
I wouldn't say a Kizomba teacher. would say a teacher. Okay. Sure. Because, as I started a very early age as a dancer, I can tell you, I can guarantee you not all dancers have the patience and the passion to teach. most of dancers, professional dancers, after a while, they, they start a new career when the
Because a dancer is very short career. Right? It's like a football player. He's like athletes. You at some point, your body doesn't respond anymore the same way. So, and then most of the dancers change career to something different. And I like to teach since I was 18 years old and my first stitch, I thought I was 18 years old. So,
I always loved teaching, whatever, not only dance, not only Kizomba. I was teaching, you know, lately at two different universities. So it's something that is in me, the passion for teaching. So, and then put together two passions, the passion for the Kizomba dance and the passion for teaching. think it was just the perfect combination.
Victor (09:20.622)
Perfect. And you're totally right. Not everybody has the ability to teach or the skill. So it's a certain skill that you absolutely need. So, okay, great. And then how long have you been teaching for now then altogether? If I tell you that I started teaching when I was 18 and I tell you how long I've been teaching, I think everybody will find out my age and I'm not really reading. Let's just say a long time. To reveal this. Okay, that's fine. Very well kept secret. So I can tell you I started very,
long time ago, over 20 years. Over 20 years. Okay. That's why we can keep it at that. That's cool. But thank you for sharing that. Okay. All right. All right. So great. Thanks for the history then about yourself. And then we're going to dive into kind of, I think maybe where I kind of came across you first. And we're going back now some years to this club that I used to go to. Many of us used to go to a London called Seebos. Do you remember Seebos?
Yeah, I do. It's in my heart. Yeah. So you started off with a club called Seebos in Leytonstone, correct? In London. And then, you know, it's changed, it's moved, it's moved now. So are you able then to talk to us about that journey from Seebos? So firstly, creating that night and then far forwards to where we are now with it being at O 'Neill's. Just a brief history of that. Yes. Okay. So.
I moved to this country as I told you before in 2010 and I worked with various promoters. work in different clubs with different promoters and I wanted to do something myself. I wanted to be also in charge of organizing my Kizomba night, my Kizomba events because back then in 2010 it was when Kizomba...
It was actually raising in UK. then you might also understand how difficult it is to find a venue to run an event. And I was jumping from venue to venues and trying to organize a Kizomba night. I partner up with a couple of different promoters as well.
Victor (11:44.234)
I got this venue in central London, but wasn't really working well. And one day, one of my students, which you know, Izzy, he was my student. He invited me to his birthday in Leytonstone at Seebos. And when I went to that venue, I love it. I love it. And I said, I want to do something here.
I know it was his birthday. shouldn't have done this. I took the opportunity of his birthday. I want to do something here. And he told me that the venue belongs to his cousin and he introduced me to his cousin. And then his cousin said, yeah. So, and I was, I wanted to do something Sundays. I always had something with Sundays. This I can tell you back in 95, Sunday was my night to go dance. Okay.
Because as a dancer, I used to have rehearsals and dance lessons and classes and everything during the week. So Sunday night was my night off and I used to go dancing. So that was inside me for years in Portugal. The night that I used to go out dancing to the number one, the name of the club is number one. With my Cape Verde friends and other friends, it was Sunday night.
Sunday is being my night. Whatever I do, can't, I can run away from Sunday. And then I went to his birthday. He introduced me to his cousin. His cousin allowed me to do the event. I partnered up with him. And then we start running Kizomba Sundays at Seebos, which initially wasn't called Kizomba Sundays. It was called Balancé Matinee. The reason why it was called Balancé
It was because I always been a huge fan of Sara Tavares and back then it was that song that was very popular called Balancé and it was my song. Okay. They said, okay, let's call this event Balancé. So it was in May. He wants to start the event in June. I was like, no, we can't start the event in June.
Victor (14:05.07)
We need at least three months to promote, to start to make people hear about us. Let's make some noise and everything. But in 2012, it was the Olympics. Yes. So wasn't a good idea also to start something that would collide with the Olympics. I said, okay, we're going to start, we're going to choose a date that would be exactly straight after.
the closing ceremony of the Olympics. For that reason, we started on the 9th of September of 2012 because it was the Sunday after the closing ceremony. And then we started promoting around. He bought lots of his friends to help to promote, which became our core team because these people were going out every night to dance and they were flyering for us and helping.
It was how everything started. Great time, Seebos. For those people in London, you know about the old days of Seebos. Great, great venue. You said you saw the venue and you just fell in love with it. Yeah. What was that? What, why? What hit you?
Was cozy, was the dance floor was good. Okay. Very important. Dance floor was good. the vibe, I don't know. think vibe is something you can't explain. You get to a place and you feel it. So I like the vibe. I like the venue, the atmosphere, the dance floor.
The location wasn't even convenient for me because I was living south of London back then. I didn't drive. It was challenging. But as trying to find a venue for so long in central London and not working, I was like, why not to try out of central London and being somewhere that...
Victor (16:15.84)
actually wasn't that difficult access because we're close to the tube station for who drive was close to the M25. So I decided to take a risk. then it worked. Yeah. A hundred percent worked. So you've been doing it a long time then and Seebos is going well. So my question to you is, mean, obviously it's changed now it's at a different venue, but how have you seen the Kizomba scene evolve and change?
particularly in London over the years that you've been dancing and teaching, how has it kind of changed and evolved?
Before, if I go back to 2010, despite having a large Afro -Portuguese community in London, for them, Kizomba, their traditional dance is their culture. It's that they do at home. They do with the family. They do in a...
someone's birthday, someone's wedding wasn't really something that they, and actually didn't have many clubs here playing Kizomba. I think what evolved is that it opened an interest to other people from different nationalities. And this created a merge of Afro -Portuguese, which we call PALOP, with non -PALOPs. I think.
bringing this interest to non -PALOP and the opening of various clubs and bring the, giving also an opportunity for PALOPs, having another place to dance apart from their own parties. think this helped to spread their culture to other cultures and giving space to everyone who loved the culture to enjoy themselves. That's fantastic. So it's opening up the dance and
Victor (18:18.254)
spreading it to different cultures, PALOPs and non -PALOPs as well. okay. So that's the main thing that you've seen evolve. The main evolution. However, there with evolution always come other things. So for example, the, the arise of urban keys because,
With the popularity of Kizomba and with the Kizomba spreading around the world and going to other countries, as happened with Salsa, as happened with Bachata, Kizomba also suffered the same kind of, I can say, variation and other people start to move in Kizomba towards another ways of dancing.
Yeah. And obviously when all started, they called, they still calling Kizomba. Yeah. And they generate a little confusion because people who wasn't from the culture, wasn't so sure what was Kizomba, what was not. And I think they came at the need of creating a name to call that different way of dancing Kizomba. And then people called Urban Kiz. Yeah. Yeah. So.
Urban Kiz is another topic we can talk about another time. Yeah. But yeah. Okay. So that's another evolution. Definitely. So then we were talking before about PALOPs and non-PALOPs. And then you were talking about the two, you know, two different parts of it. But then I'm thinking around. So with your events that you do, you know, how do you keep it vibrant and diverse enough for the, for the PALOPs to enjoy themselves?
Because obviously traditional Kizomba for them, isn't it? And obviously you have non -PALOPs, which is fine. Everybody loves Kizomba. But I guess what I'm trying to find out is, is it hard to keep the two connected? Does that make sense? Yes. The thing is, if I thought only about the PALOP, if you go to a PALOP party, they play everything.
Victor (20:40.11)
Kizomba is one of the things that they play. They enjoy. They like to dance Kizomba, but they also like to dance Brazilian music. They also like to dance house music, after house, after beats. They have a variation of styles of music that they play. So that's why I try to make sure that my event is not an exclusive PALOP event.
And the people who come to the event who are not PALOP and they are just willing to enjoy the PALOP music. So that will be a little bit of a difficult to try to make everyone happy. But what we try to do is to create, what I tried to do, it was to create a key Kizomba night. And when people come to my events, they are aware.
that will be a Kizomba night, not a PALOP night because I want to open to everyone. I understand if I want to do a PALOP event would be a mix of music. But because I want to do an exclusive Kizomba event and then I will please a little bit the PALOPs who wants to have mostly Kizomba playing and I also please the non -PALOPs who
are looking to enjoy themselves exclusively with Kizomba. Obviously we also play Coladeira, we also play Ghetto-Zouk, Tarraxinha, Samba, which is my favourite. But yeah, we try to maintain the Kizomba as the majority of music we will play in my events. Yeah. And is that, that being any challenges around that or was it?
It can be sometimes, it can be sometimes because sometimes some PALOPs don't agree they would like to be more mixed music and when you play more mixed music the non -PALOPs who came just for Kizomba not so happy because they would like to have more Kizomba is a balance that we try to find not always successful but I believe after all these years
Victor (23:00.014)
If I'm still in the scene is because something is working, right? Yeah, it's been a long time. So something's definitely working, right? At least they know that when they come to your event, they can dance Kizomba and you know, some other stuff as well. So, okay, cool. Now just wanted to find that out because obviously we do have, you know, London's diverse, isn't it? You know, we have PALOPs here, we have non -PALOPs, other people from other places. So, and it must be a challenge as a promoter to try and please everyone. But yeah, you answered that. that's, that's great. Okay. So are there any...
What other challenges that as an event promoter have you faced during the time you've been doing it?
So the first challenge I mentioned before, it was the venues. Finding venues is very difficult because this is what most of people are not aware of is that we, as this type of promotion is not like we have funds to hire a venue. Most of venues are used in a very special deal. Like they let you use the venue.
for free if he's in a day that nothing is happening like Monday or they charge less than they usually charge if you use a venue in another day that is not so busy like or Tuesday or Wednesday or even Sunday. yeah, the biggest challenge is to find a venue where you can afford the deal. Right.
Promote is not easy. You need to be around, you need to be seen, you need to socialize, you need to go out to dance on a regular basis so people know about you, know about your events. It's not only flyering. Nowadays, the social media has a big influence on that, helps you to promote, but still, it's still very challenging and it's not something that is to everyone.
Victor (25:01.622)
We are as much as you mentioned, we are in a very multicultural place. It's not everyone who are willing to go out to learn a dance, a culture from other culture and it's difficult to bring new people. The second challenge I faced is the competition.
Because obviously as soon as do one thing that works, other people try to do the same. Absolutely. Yes. Which is not bad. Yeah. Don't get me wrong. Competition is, is, is good, but not always is good depending on, on how it's done, depending if people are ethical, if people respect like your name or try not to do. We know this is like open a chicken shop and someone open next door. Yeah.
Of course, the city is big, you not open the next door as your neighbour. Try to open the other side of the city. have a Kizomba night happening Sunday in East London. So open another night. You want to do Sunday is the best day for you. Do in the South. That is nothing happening in South or North. So this is kind of, I always try to do.
check the market, what is going on, where things are happening, which days things are happening and try to go the opposite. Different location, different day is how I try to run my business. Unfortunately, always like that from other promoters, but I think it's just part of the business we just need to deal with.
And it's interesting because now we know why you chose Sundays and you're the resident Sunday person. But now we're in a backstory to that Sunday was your dancing day. Okay. Great. So, you know, a couple of challenges there, but like you say, you're still here. It's still going. So you're doing something right. Yeah. So thank you and keep going. All right. I'm not planning to go anywhere. Okay. Fantastic. That's good. That's good. So then you mentioned dancing and dancing in Portugal as well. So, you know, in terms of
Victor (27:20.258)
Well, do you travel a lot? Do you travel quite a bit? Yeah. You do? Okay. So what's the, what's the Kizomba scene like in London compared to some of the places that you've visited? Or what would you say is the difference with London and elsewhere? I think I'm afraid that I put myself in trouble now. okay. Okay. Well, this is a conversation, but you know, only say what you want to say. The thing is, obviously with all these years, with the,
How I can say with the popularity of Kizomba and growing and getting more known around the world, increases well the number of congresses. Yes. Which is good because helps to spread the word and helps the tourism, people travel more, people go to other places, other countries and meets people from there, make new friends.
I see all positive. However, I'm a little bit peculiar regarding the quality of the DJs. Okay. And I reckon that London, are very spoiled in terms of good DJs. Spoiled. Yes. Okay. We have a really good amount of.
very well, good, good, good teachers. Sorry, good DJs. And not always when I travel, I have the pleasure to enjoy the music as I do in London. That's why I say I'll be in trouble because some people say, nice people. In our country, we also have DJs. They might, but all I was unlucky that the times that I traveled to some Congresses, I really didn't enjoy the music as much as I enjoy here.
Okay. And I feel lucky that I have contact with all these amazing DJs. know, DJ Gatito, Miro Kikola, G Sousa, Kindoki, Fofucho. I could stay here hours giving you names. They are all amazing. Really, really good DJs, high quality. And yeah, I'm really happy actually now that some of our DJs start traveling more and being more known in other countries because...
Victor (29:47.116)
They are great. Not saying there are no good DJs, amazing DJs in other countries, but I have to say that in London we are spoiled because we have a really good DJs. UK people were spoiled. Just remember that next time. remember. Was spoiled. Okay. That's really interesting to hear. Okay. Any other differences? Was that the main one you would say? I might have to say one.
negative points, but I believe it's not only when I travel. Here we have the same issue is the ratio between male and female. There are always more ladies and it seems that the festival are three times more. So that's just everywhere. Everywhere. I don't think it's only in congresses and festivals. Whatever I go dancing, there are always more ladies. We need to create some way to bring
more gentlemen to the dance floor because it needs to be more balanced. Otherwise you ladies go travel, spend lots of money to be in a congress and stay there all night and dance one song. So why do you think that is? What do you think that is about men not coming so much? Any thoughts? It's cultural as well. it's cultural as well. think we are
improving a lot, but men are raised in a different way. to be more interested in different sports and yeah, dancing is more, people believe that is just for ladies, just for women, that women are more, even my partner, he says, I don't dance. Why not? So, he dances with you, right? No, he doesn't dance. So it's kind of
Man, I think create that block. No, I can't do this. I man overthink. I feel this in lessons actually. Last week I was teaching a lesson and the guy said, she's better than me. was like, you're overthinking, just relax and feel the music and listen to me. I'm sure you'll be fine. And he was fine at the end of the lesson, but he was overthinking. God, they're already overthinking. I think that's your problem, guys. You overthink. Okay. No, it's...
Victor (32:12.206)
So my wife tells me that a lot anyway. But yeah, no, I think what you were saying then about culture and, you know, men more doing other things, sports, whatever, that kind of makes a bit more sense now. So, okay. So I'm learning something there because that's, that's interesting. Cause I was always wondering why is it so, I mean, it's not even like a little bit is very heavily more women than men. So that's a good to get that kind of insight. Okay. No, that's great. And then.
Okay. So that is you, differences in the scene, but what about, is there anything globally, that you see any differences around in terms of Kizomba? Any other differences? I think, now, especially let's say the last, after COVID. Yeah. And, with the, popularity of Urban Kiss, felt that now is more...
splitting like people who do Kizomba only do Kizomba, people who do urban keys only do urban keys. think now it's because it's more clear now the difference between the two styles. I think this globally now is more settled. It's like, okay, this is Kizomba and not saying that there are not people who like both and that's both, which is perfectly fine and normal. But I...
I feel that globally now is more clear what is what. Yeah. And do you stay connected to global kind of, events? I stopped traveling for a while and, I'm aware of what's going on because as a Brazilian, I live lots of years in Portugal and now I'm living here and I have friends on all these countries.
So I'm aware of what is going on. I'm just not being present as much as I used to be before. Okay. Interesting. Spain as well. Spain. Yeah. So the Kizomba scene in Portugal and Spain, what are they like?
Victor (34:29.038)
There is a very interesting difference between us in UK and Portugal and Spain. And I believe so not only these two countries, I believe Italy, France, I believe these countries, they have this similarity, this point in common is when someone wants to dance, to learn to dance,
to learn about a different culture, to learn any kind of dance, partner dance specifically, they go to a dance school.
while in UK, people go for a club. Which for me initially was so confusing. Okay. Because I used to have a dance school. used to teach in dance schools from other teachers, other promoters, other organizers. And I used to go to the school and people go pay to have a lesson, do the lesson and leave.
And then obviously we have parties and then people go to dance in the parties. But the main learning would be in a dance school.
And here you go to a club where there are people who are not doing lessons or they're just going for a drink or tourists. They are drinking, are crossing the dance floor with their drinks, holding their drinks while I'm trying to teach someone to dance and the person is trying to pay attention in what I'm saying, but also looking someone else passing. And it was so confusing when I got here, I was lost.
Victor (36:14.75)
I had to start teaching at club with all that noise around. I was like, I can't do this. But I learned, I learned now I'm shouting louder than everyone else. But when I got here, it was very challenging for me. And I believe that is the biggest difference. When for non -PALOPs coming to learn a dance, a culture in a club.
with all that noise around while if you go to learn how to dance in Portugal or in Spain or I believe so other countries in Europe, you go first to a dance school. You have all that preparation before you've been thrown to the lion. Yeah. And go to the club dancing. And that's really interesting to hear as well because also would you say, because I hear that, you know, in Poland, they have a very high level of dancing as well.
And I think what you're just talking about probably illustrates probably because they have that structure as well. Yeah. Literally you go to a school and you learn and then that's how you kind of develop your skills. So it's just interesting to hear because we don't necessarily do that. And you're right, you you just come up to a class one day or another, sometimes you don't even come to a class for another three weeks or whatever, they can try to pick it up or whatever it might be. So it's a bit erratic. So it's not good because I mean, it's working.
for the system here. But I always, I'm a huge fan of structure. when you go to a dance school, you have modules, you do all the modules that would take a couple of months and then you improve and then you go to the next module. If you miss a couple of lessons, you can't go to the next level. You need to go backward. So it gives you, that's why the level is so high. If you go to Spain,
I was very impressed when I went there for the first time, because people go to dance many times a week and they go to take really serious dance lessons. And this obviously will give you a different level because you are really investing your time to learn properly. While in a club, there's so many distractions and if you pay as you go, you're tired of work.
Victor (38:39.47)
today, I'm not going today, I'm just paying the lesson when I go. But if you pay a month or if you pay three months or if you pay six months, if you pay a pack, you're like, no, it's paid already. I have to make an effort and go. I believe all these factors influence people to take the decision to go or not to the lesson. And also the environment. In a studio, you have the mirror, have the music, have the teacher focus on you, you focus on the teacher.
in your partner and your other dance partners. In the club, there's so many noise around, which will take you also some time, some more time to, to improve. believe so. Well, you're a classic teacher. said you love teaching, right? So this is a teacher talk. Absolutely. Right. But no, think, I think you're right as well. If you want to evolve in your dancing and then have it really, really good, that's what you do. But obviously we know that people go out for lots of different reasons. You know, you might want to go out, let their head down, but I think that
getting that structure is really key if you want to evolve as a dancer like you're saying. Okay, no, great, interesting. Thank you. Thank you for sharing that. All right, let's focus then now on, I mean, go back to what we were talking about before, and that's your night, which was CBOs, and which is now O 'Neils on a Sunday. Okay. I just want to find out, I mean, you touched on it already, but what is the secret to your success? Why has it been going for so long? What would you say?
My DJ, I say mine because, not mine, but he's working with me since day one, the DJ Gatito. He says that the secret is consistency. It's what I try to do in everything I do in my life, not only in the Kizomba. I try to be consistent, to always...
pass the same message. want people when they hear my name, they associate to quality, to consistency. They know what they're going to find. I know people have different tastes, different opinions. Some people like surprise. Some people like to go somewhere and say, okay, let's see what's going to go in, what's going to happen. I am more.
Victor (41:01.568)
Like I like to know where I'm going and I like to know what I'm going to find out. And I like to offer this to my clients. So I like you to know that when you go to my event, you know what you're to find. It doesn't mean that will not be some pleasant surprises in between, but you know the quality of the music, you know the quality of the lessons, you know the quality of the space.
For me, the secret is consistency. so consistency. Keep doing it, doing it, doing it. Yeah. OK. No, great, great, great advice, DJ. Gatito. OK, cool. And then also, you are a busy individual. Yeah, because obviously you've got your day job. You've got, we're all busy, but you've got a lot going on. Plus, so you're a teacher as well. So how do you balance?
What's the secret to balancing your time with the events, with work and everything else? So, the secret for me is to prioritize. So it was a moment in my life that I prioritize being a dancer. I didn't have weekends. I didn't travel. I didn't have holidays because I was only focusing on that. When I start teaching, then my focus.
change a little bit and my focus it was on preparing my lessons and being doing trainings and learning more to improve and to give deliver good lessons.
That's, that's, how I do. I create, okay, this deserves 10 % of my time. This reserve, deserve 20 % of my time. This deserve the other 70 % of my time. It's how I try to balance and I prioritize and ask everything in life change and everything move and then you can be static. Right? Yeah. So it was a moment that I prioritize my events. Yeah.
Victor (43:11.69)
Nowadays, I prioritize certain stability because this format of work that we do as promoters in UK is very unstable. We don't have financial stability. That's why like for years, I didn't have a day job. For so many years, I was just a promoter and dance teacher. Not just because it's a big deal, but...
I wasn't doing anything else. I was promoting my events. was teaching almost seven days a week and I had my own events and I was teaching for other promoters. I didn't have the time to have a daytime job. Then of course you get more mature, you want to have, you have other responsibilities, you get engaged, do you want to buy a house, there are other things. And then I realized that this word as much that I love it.
wasn't enough to cover all fronts and I had to have a day job, which somehow was connected with events. As you know, I'm an events manager. However, now working mostly with the corporate events, still with the foot on the Kizomba, but with another foot organizing large scale events. yeah, that's why I said I...
prioritize and I split in percentages what I can do. So at the moment, the Kizomba is 25 % of my time and the other 75, I am dedicating to my day job. Okay. And with all that, you get to have fun. Yeah. Sometimes as in dancing, I'm talking about. get to have to, because my love is still here. My love for Kizomba, my passion for Kizomba is still here and I can't simply stop doing it. This can't happen. So.
For that reason, I still organizing Kizomba events. I still teaching, but not seven nights a week anymore. Does it ever feel like a job or do you love it too much as in dancing? Teaching? I love too much. Okay, cool. Just wanted to feel like a job. I mean, it's always been a job when I was doing a hundred percent of my time. because obviously I like to have everything over controller.
Victor (45:40.854)
So I like to have everything organized, everything right, hours in advance. I don't do lastminute .com. Like all my books are massed in advance. So promotion, flyers, everything. Now that I'm doing less, I'm still doing it, but it's not as intense. I believe that.
it make it easier for me and make feel less as a job before still love but I had that pressure I have to do everything perfect now having less pressure it comes more naturally and I think I'm I'm enjoying more good because you've got to enjoy okay yeah and speaking of enjoyment we love Kizomba this podcast is about Kizomba but obviously the father of Kizomba is Semba right
So you mentioned Semba. So what is it about Semba that you love so much? The energy. The energy is happy, is intense. Yeah. Yeah. I love Kizomba. Don't get me wrong. Kizomba is the passion. Yeah. Okay. I just, this just came across in my mind now. Kizomba is a passion.
And Samba is a love. great. Yeah, it's a great quote, right? Because Samba gives, that's warm in your heart, but Samba give me that energy and I love that energy. And one interesting thing about Samba, because the Samba and Zouk, the merge of both,
It was what created Kizomba. Right. And one very interesting thing that I didn't know, and I learned when I had contact with Petchu as a Brazilian is even embarrassing. I'm admitting this to everyone, but I will. For me, Samba, the Brazilian Samba, it was something that was originated in Brazil.
Victor (48:01.43)
No, Samba is ours as a Brazilian. Sorry, you say Samba? Samba. Samba. Yeah. You probably seen the Rio Carnival Samba. As a Brazilian, I always believed Samba. was something that came from Brazil. Of course, we were colonized by Portugal. We have African influences, but Samba, no, Samba is ours.
That was, I believe it. Learning with me, Master Petchu, I understood that our Samba came from Samba. I was like, my God. Blow my mind. I was like, really amazing. Which makes me even more happy because it's like as a Brazilian, I love our Samba and traveling around the world, having access to
other cultures and falling in love for other cultures and realizing that one of the things that I love most about other culture simply was the influence for what I love from my own culture is like the perfect combination and makes me so happy. heaven. So that's a great story. Yeah. So Sembers you Sembers you. Okay. Excellent. So, know, then I just want to, you know, question is,
How has Kizomba
That's a very difficult question because it was something that took over so naturally that it became part of me. For example, when I was cruising, you are ears at sea, you don't have much access to the
Victor (50:06.35)
all these normal lives, driving, go to cinema, go out with your friend. So you kind of get inside a box and you live that way for so long. And back then, when I was cruising, I worked with the cruise company for 10 years, but only the last three years it was full time. And this full time that I cruised,
And when I had my moments by myself that I was locked in my cabin, I didn't have to deal with passengers. would, didn't have to deal with colleagues. didn't have to deal with anything. The only music I could listen to it was Kizomba. So I've been very musical my whole life as a dancer. guess so, right? But there are no
No, there are no other type of music that I can listen in interrupt Lee without getting, being bored. Okay. Yeah. So if this meant something for you, I don't know, but it's like, I love all types of music. listen to all types of music. But when I'm by myself, the music that I like to, to listen to is Kizomba. So, and these I learned.
Of course, when I get to know the culture more and learn more about the music and the people. I think that is the biggest impact is to become my music. Music has a really good influence in everything I do. Everything I do has to be with music. And if I have to choose one music to listen to, it be Kizomba.
Even though you love Samba. Yeah, but Samba is for the dance. OK, OK. You understand? Yeah, Samba is the love I have for Samba is because make me dance. OK. And Kizomba, I don't need to dance to enjoy the music. OK. If I go to a club or if I go to a festival, let's say the example going back to what I said before, going to festivals, let's say I go to a festival, DJ Miro Kikola is playing. I know that he'll play the music I like.
Victor (52:28.462)
Hundreds of ladies, no man to dance. But the music is amazing. I will still go home with that good feeling because that music make me feel that way. Yeah, now you don't have to convince me that I totally get everything you're saying. 100%. 100%. Okay. Yep. We can just leave that there. Okay. That's cool. All right then. So, Adriana, thank you. This has been great. I just want to ask you, you know, obviously you're doing great work here in London. Keep it up.
And obviously you run events as your private work as well. So anybody that's thinking about going into the space in the Kizomba scene, you know, you know, doing an event, not that it's competition, but you know, if somebody wants to do this, they think, okay, yeah, you know, you've been doing that for a long time. I've got a passion for this. You know, what advice would you give to them? What would you say to them before they get started? Don't think that it'll be easy initially.
Because as everything in life, it takes persistency and if you don't persist, you're not getting anywhere. It's difficult. As I said during this interview, this conversation, not an interview, this conversation, it doesn't come like, okay, we just have a space, let's do it. First, the market, understand the markets, study the area where you want to do your event.
get a venue that offers at least a good floor, at least a good sound system. Being in contact with people who you believe will offer a good quality of music and of teaching, people who are reliable. There are lots of elements that you need to put together in order to
Organize and succeed events, right? So I would say location, I would say venue, where this venue is located, that would be easy access to your clients or not. Consistency, right? Offers something that even if it's not working on the beginning, doesn't mean that will not work. If you have these right elements combined, good space, good location.
Victor (54:52.588)
good teachers, good DJs. So it's just a matter of time that's going to work. yeah. Okay. So you heard that advice people from a master here. absolutely. And consistency is a key thing that's coming across as well. So that's important. Okay. And then, you know, what are your hopes then? Your hopes, aspirations for Kizomba in the UK and globally? Where would you like to see Kizomba? How would you like to see it evolve?
I would like people to understand more about the culture and invest more in learning with good teachers, listening to the music with good DJs. Try to find your own niche because if it's for you, if it's for you, if you're sending data, you find data, you...
Identify yourself with that.
Just, just there are lots of sources around that you can educate yourself. But if, if you don't like one of the aspects of the culture, just don't invest your time. So what I would like to see is people going and trying to learn and respect the culture and, and give love to that culture. Because I heard someone say.
I like the dance, but I don't like the music.
Victor (56:30.934)
I would say a bad word, I said, know you said don't say bad words. So B word. Yeah. Sorry. No, you can't, you can't like one thing. don't like another thing. You need to love the music. You need to love the dance. need to understand the culture and like the culture. Okay. If, if not, just go to learn something else. Right. This is where I would like to see people passionate about Kizomba and people doing
for the love of doing not because it's the coolest thing of the moment because the coolest thing one day will be replaced by something else. absolutely. Okay. No, great. Absolutely. And then you are there any projects or anything that's happening that you want to tell people about the future?
Okay, so I don't know if lots of people know, but at the moment I'm running Kizomba Sundays at Onyx once a month, every last Sunday. So in parallel, there are other events that I do, punctually not on a regular basis, like the boat party, as you know, we have the bank holidays that are special parties.
Because when I do the last Sunday, it's a normal Sunday. It's a dance lesson, then club until one o 'clock with the Jega Tito. And our regular teacher, which is Rashida and myself. When I do the boat party, which is once a year, is every summer. This year I did the seventh edition. However, it was slightly different because...
The first five years I did only Kizomba and the last two years I collaborate with another promoter, which do Brazilian Samba. Okay. And I created the concept of Brazil meets Africa. Yes. So my plan is to, I don't have anything that I can say yet.
Victor (58:48.034)
But my plan is to bring other cultures to meet Africa. At the moment we have Brazil meets Africa. It doesn't mean that tomorrow we don't have...
Victor (59:01.536)
Jamaica meets Africa. So, because as this is not my full -time job anymore, and I like to offer special events to my clients, I find really interesting the collaboration with other cultures. I love to learn more about other cultures and I don't see why not to expand Brazil meets Africa to other.
countries, other cultures to meet Africa. And we can make a very interesting party, which we have different rules where people can navigate between different rooms and learn a little bit about different cultures. That is my aim. So the next party coming up is our bank holiday in August, which will be a Toniz as usual.
DJ Gatito, DJ Kindoki and DJ G-Sousa will be playing for us. As is bank holiday will be until 3am. What advice people is to come early to don't be queuing outside. As you know, bank holidays is always packed. Our anniversary is coming in September, which I already have an international teacher coming. I'm not revealing yet. I need to first work on the design and then when I put the flyer out,
everybody will know. So we have a guest DJ and a guest teacher for our anniversary. So Kizomba Sundays will be celebrating 12 years. Wow. 12 years. Yeah. So just about the length of time I think I've been dancing Kizomba. So wow. Yeah. That's great. 28th of September, if I'm not wrong, the last Sunday of September.
is when we're going to be celebrating our 12th anniversary. that right? 28th of September or 29th. Check, check, 29th our producer just said. 29th of September. we started on the 9th, but as I'm doing a monthly event is that every last Sunday.
Victor (01:01:19.598)
We'll avoid confusion with our clients. We hold to the last Sunday. So on the 29th of September, we'll be celebrating 12 years of Kizomba Sundays. And I'm really proud and really happy to be surrounded by such great professionals and great supporters like you. Thank you. No problem. Always there. And yeah, the clients.
It's a bless. It's a bless. I feel really grateful because I feel loved, I feel supported by people who appreciate and love the culture as much as I do. Fantastic. Fantastic. Thank you so much. And I'm there already. I'm going to be there. Not that I'm going to be there. I'm just saying I'm there already. I'm definitely coming to that one. So 12 years will definitely be there.
But no, the bank holidays that you produce are really good and you know, the boat parties are really good as well. So keep, keep them going. And I think the cultural part as well, great idea because it opens up people's, you know, different thinking, meet new people with different cultures. So that's something that definitely should keep going. Yeah. Can I say something? I'm open for collaborations. So if anyone from a different culture just approached me, and we can have a conversation and collaborate with each other.
do a boat party or do a party at a news or do a party somewhere else, which we can combine both or three cultures or four cultures. I think it's very good for each one's culture and also for everyone who like me love to learn about different cultures. So if you are watching this now and you from a different culture, which is not a
related to Kizomba and you want to come together, let's do this and let's put out a new party and bring more people together. You heard it here. Let's do it. Let's just do it. Simple as that. Simple as that. Adriana, where can we find you? What are your socials? Tell us. OK, so I'm on Instagram, which is Adriana Neves1707.
Victor (01:03:46.446)
I think so. Adriana Neves, 1707 is my birthday. So I can't forget at least the number. I can't forget. And also Facebook. Interestingly, as much as lots of people say that Facebook is not as popular anymore, most of my clients come from Facebook and watch my content on Facebook. So I cannot leave Facebook for a while.
Because Facebook is where the demographic of my clients are mostly. And that's all. I have Twitter, but I don't remember. I almost don't use. I mean, I'm navigating between Facebook and Instagram. So you can find all information about my projects over there. I'm in LinkedIn as well, but LinkedIn is more related to my corporate events. Sure. No. Thank you so much. Thank you very much.
One final thing that we do on the podcast is we ask you some quick fire questions. Bit of fun. All right. So we have three cards here. And the idea is for you to pick two and answer them. And the last one is always left for me to answer. So it's interesting to see. So I'm going to ask you to pick your first one.
and then re look at it and then yeah go ahead sir. If you could have any musician or band play live at your event who would it be and why? Tabanka Jazz.
need we say anything? Why? I don't need to say anything else. If I just say Tabanka Jazz, is everything said? We would love to see them on a Sunday night. I would love to see that. It's a dream. It's a dream. I know they came a couple of times to UK, organized by other promoters, and I envy them because I love Tabanka Jazz and it's my favorite.
Victor (01:05:54.4)
I love lots of them, but Tabanka Jazz is, I have nothing to say. Yeah, we can just move on with that. Okay, cool. All right. Next one.
Victor (01:06:06.798)
What is your ideal Kizomba location? 1. Beach 2. Rooftop 3. Historic building 4. Nightclub I would be in between beach and rooftop because both relate to summer and warm and hot and dress and five hills and...
feeling nice and happy. So historic building might be interesting. A nightclub I do on regular basis is already regular for me. Yeah. I think beach or rooftop. She's one. One. Let's say if I would do on regular basis, a rooftop. Okay. If I do one off party on a beach. Okay, we can have that.
Okay, no problem. Now don't even have to read this card because I know what it is. The funny thing is that it's more suited for you. However, I'm going to answer it. However, we're still going to get your take because it's more suited for you because I know what the questions are. So the question is, what is the most challenging part of organizing a Kizomba event? All right, so I'm going to play like I don't organize them, but
There are four options. So booking the DJs, dealing with last minute cancellations, managing expectations or finding the right venue. So I would say the most challenging part of organizing a Kizomba event, it's just what I would say is probably finding the right venue. But that's my opinion. Okay. But I'm to give you the card and you tell us as the master of this.
Or are they very difficult all four? No? I'm with you. Finding the right venue. Okay. Is, is because, booking the DJs. I can't complain. I already gave a good list today. Dealing with last minute cancellations. It happens to everyone. It happens to me already. And once I had, I flew to Brazil and on my way back, they canceled my flight.
Victor (01:08:34.624)
I was going back, I was supposed to arrive Sunday morning to go to teach Sunday evening and they canceled my flight. I had to from Brazil find a cover and I found it thankfully. Managing expectations is unpleasant. It can be unpleasant because obviously not everybody have the right approach. So, then like, but finding the right venue, I think is the hardest one. Yeah.
is the hardest one. I was lucky initially with the Sebo’s and then with the O’Neil’s. Yeah, difficult because there's so many elements that needs to be right. The floor, the space, parking, accessibility, lots of things, right? Finding and maintaining. Yeah, as well. Because you can find easily, but then becomes always new challenges. yeah. Okay, cool. So I got it right.
if it was a test. Hey, Adriana, I to say thank you. Thank you so much for coming and joining us on this episode. problem. Hopefully in the future we'll get you back to talk about how things have developed down the line. Okay. So thank you. Thank you. Thank you very much. Thank you. And as always everyone, we just want to say thank you very, very much for joining us on this episode of Kizomba Conversations. Please let us know what you think of the episode.
And as always, keep dancing and we will see you soon. Peace.