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Historical events that gave birth to kizomba

History of kizomba

There are many musical genres and rhythms that we love and make us want to dance just by listening to them, but in most cases, we do not know their origin or how they became what they are today. Such is the case of kizomba, whose origins are both particular and fascinating, so we want to explore a bit about this interesting story for the knowledge of all those readers who still do not know it.

This dance modality that has become well known in Latin America and the United States in recent years has its origins in Angola in the 1960s as a fusion of ”semba” and other African rhythms, but it was not as simple as it sounds. In fact, many things happened before kizomba became what we know, some of which have to do with historical events that led to the creation of this musical genre indirectly.

People dancing kizomba
People dancing kizomba in a dance studio in Angola

Historical context

Angola was colonized by Portugal in the 16th century, fact from which the European country began to impose its culture, language, religion and political system in the occupied territory. In the same way, the colonizers took advantage of the Angolans in every possible way, but the best known was the labor exploitation to which they were subjected to obtain resources and the suppression of their national identity.

The situation became so unbearable that there has been an emergence of numerous anti-colonialist movements throughout the country such as the National Front for the Liberation of Angola, the People’s Movement for the Liberation of Angola and the National Union for the Total Independence of Angola. This resulted in the Angolan population demanding the rights they had as inhabitants from their own country and which had been forcefully taken away from them. The following years were marked by intense armed conflict, a lot of political instability and international intervention.

Finally in 1975, Angola gained independence from Portugal to become a country free from the yoke which settled down on it for decades. However, the legacy of colonization in every area of national life was so profound that it could not be swept way from one moment to another, including traditional music and dances. Both Angolan music and dance ended up mixing with European and Portuguese rhythms in general, resulting in a colorful range of sounds that have been conquering the whole world.

Angolan women dancing
Angolan women dancing tradicional rhythms

Origin of kizomba and its name

Returning to semba that was mentioned at the beginning, it was its union with other African rhythms such as zouk that gave origin to kizomba as such. The word ”kizomba” comes from ”kimbundú” or ”quimbundú” which means ”party”. Kimbundú is a language spoken in some Angolan provinces and the Portuguese language incorporated some of its terms such as ”xinga” which means ”curse”.

On this subject there is much controversy, since lots of hypotheses are floated to explain the origin of kizomba and one of them states that this genre does not exist as such, but it is a version of the already existing zouk, but sung in Portuguese. There are also some studies indicating that kizomba comes from ”bèlè”, which is a dance inherited from African ancestors who came to the Island of Martinique as slaves to work in the sugarcane plantations.

By mixing bèlè and the European polka, Martinican musicians created something called ”beguine”, which was spreading in Parisian popular dances. When these rhythms were mixed with more commercial music in the 1970s, zouk originated and this term makes direct reference to the spontaneous parties in Martinique. ”Zouk” means ”party” in Creole, which is a language spoken by West Indians that emerged from the mix of French with other African languages. Coincidentally, it has the same meaning as ”kizomba” in Kimbundu.

Luanda Semba Festival
Some contestants at the Luanda Semba Festival 2019

After zouk spread to French Guiana and Brazil, it returned to Africa, especially to Angola and Cape Verde, where it merged with semba and finally gave birth to kizomba.

What how is kizomba is today

Kizomba tended to be slow-paced and static and not required many turns, but that changed with the passage of time. Today, it includes legs tangled and recreates much more visual moves than before.

Something that characterizes the genre is the circle dance with forward and back steps, which has been very appealing to dancers from all over the world despite their origin. Besides, it is very easy, sensual, different and exotic.

Read also: No man is a prophet in his own land

Johnny Pacheco, presents “Orquesta Primera Clase” from Maracay-Venezuela

The title of this album speaks for itself; the hand of the transcendental Dominican musician is introduced in this album.

El Zorro de Plata Pacheco appears as executive producer of the album, although we do not discard that he also participated in part of the musical production, due to the way the orchestra was structured and the style in which the arrangements were given; it is something that we can hardly notice when listening to the album, it is evident the great similarity to “Pacheco y su Tumbao”; four excellent trumpets with sonorous arrangements.

Johnny Pacheco, presents "Orquesta Primera Clase" of Maracay-Venezuela
Johnny Pacheco, presents “Orquesta Primera Clase” of Maracay-Venezuela

The predominance of Teo Hernandez (R.I.P)’s vocal style and register in the nasal coros, fits perfectly with the “Tumbao Añejo” that we have always been accustomed to from maestro Johnny Pacheco (R.I.P).

Although the album was backed by the Fania label and is loaded with a cheerful and swinging flavor, we think that it went somewhat unnoticed by the music-loving public.

The reasons could be several, we must remember that in those times in the 80’s the merengue rhythm was beginning to penetrate with a lot of strength.

Johnny Pacheco, presenta la Orquesta Primera Clase
Johnny Pacheco, presenta la Orquesta Primera Clase

Although we could also add the little interest that the public of the capital (Caracas) had for the groups of the regions or interior of the country, and although it seems ironic to say it.
Another possible reason could be linked to the inclusion of only unpublished songs (it is well known that in those times, they supported copies more than creativity); these are only conjectures of this server, however, they do not escape the reality of that time.

Teo Hernández (R.I.P)
Teo Hernández (R.I.P)

As for the musical themes, we have already pointed out that all of them are original and very well compensated with their arrangement; In particular there are two songs that I like very much, one of them is “Negro Nací”, written and sung by Orlando Sanoja, is a very happy song dedicated to our black race of the danceable in his music, “Si negro nací nací nací, blanco no puedo ser”, The other song of my predilection is “El Sabio”, composition and lyrics by Jorge Compres and vocalized by Teo Hernández, with great diction, good phrasing and those tasty choruses that accompany him.

Orlando Sanoja
Orlando Sanoja

It is worth mentioning that the excellent La Orquesta Primera Clase is still in force with a musical staff of the new generation maintaining its original sound with its lead vocalist Orlando Sanoja.

It is another good Venezuelan album that you should have in your personal CD library.
Johnny Pacheco presents “La Orquesta Primera Clase” (1982) Fania LPS-66506

SIDE A

1.- NEGRO NACÍ (Orlado Sanoja) Sings: Orlando Sanoja/ Arrangements: Nicomedes López
2.- ME SIENTO MUY FELIZ (Al mMaro Ríos) Sings: Orlando Sanoja/Arrangements: Bolívar Javier
EL ANIMAL (Jorge Compres) Sings: Teo Hernández/Arrangements: Jorge Compres
4.- TODO TIENE SU FINAL (Bolívar Javier) Sings: Teo Hernández/Arrangements: Bolívar Javier
5.- LLEVAME CONTIGO (Almaro Ríos) Sings: Teo Hernández/Arrangements: Bolívar Javier

SIDE B

1.- EL SABIO (Jorge Compres) Sings: Teo Hernández/Arrangements: Jorge Compres
2.- A MARACAY (Orlando Sanoja) Sings: Orlando Sanoja/Arrangements: Jorge Compres
3.- EXTRANJERA (Phorto Jacquez) Sings: Teo Hernández/Arrangements: Jorge Compres
4.- VIVA MI GUAGUANCO (Jorge Compres) Sings: Teo Hernández/Arrangements: Gilberto Riera
AY QUE HUMANIDAD (Orlando Sanoja) Sings: Orlando Sanoja/Arrangements: Jorge Compres

Personnel:

Pastor Rodríguez (1st Trumpet)
Henry Kamba (2nd Trumpet)
Gustavo Nieves (3rd Trumpet)
William Fermín (4th Trumpet)
Armin Kail (Piano)
Carlos Fagúndez (Bass)
Harold Josef (Congas)
Edgar Aponte (Timbal)
Félix Benítez (Bongo)
Teo Hernández/Orlando Sanoja (Singers)
Bolívar Javier/ Nicomedes López/ Jorge Compres/ Gilberto Riera (Arrangements)
Teo Hernández/Orlando Sanoja/Edgar Aponte (Chorus)
Johnny Pacheco (Executive Producer)
Carlos Guerrero (Recording Technician)
Luis Arismendi (General Recording Supervision)
Recorded at Fidelis Studios
Alejandro Pérez (Art and Design)

How Jacira Castro and Salsa Power changed the Latin music scene

How did Salsa Power start?

Latin culture, specifically the musical part, has had a large group of unconditional allies who have promoted it worldwide through their work and platforms, being Chilean-American Jacira Castro one of the best known. Jacira is a salsa casino-style salsa teacher and web designer who had the dream of spreading the typical rhythms of our countries, but she did not figure out how until she came up with a revolutionary idea: Salsa Power. 

Salsa Power was born in 1999 as part of an initiative created by Castro and graphic designer Julian Mejia, who practically became her partner until the moment when the page stopped working. From that year on that the dance instructor began to generate contacts and develop human networks with people inside and outside the world of music, especially from the salsa genre. A particularity of this system devised by Jacira was that it was fed by the information received from people from anyqhere in the world about everything related to concerts, festivals, press conferences, autograph signings and much more.

Jacira Castro - Salsa Power
Dance instructor and web designer Jacira Castro – Salsa Power

How did this project work?

Thanks to the technology that was advancing little by little in all this time, there were many more contact ways and social media came along to facilitate these activities. The website grew to such an extent that it came to have more than 300 correspondents in over 60 countries, many of whom did not even have professions or occupations related to music, but wanted to strive to make the initiative successful and Latin artists and orchestras have a dependable space to promote their work.

Contrary to what many readers may have thought, everyone involved in this project never received a single cent or publicity in return for all the work being done. In fact, it was Jacira herself who had to pay for all the expenses related to Salsa Power such as plane tickets, travel, lodging, food, wardrobe, among other things. Not to mention the website maintenance and other hosting costs for the domain to work properly.

Fortunately, all that effort and money were worth it because Salsa Power rose to become the largest salsa website on the internet and a true reference for any independent media planning to do anything remotely like that. Much of the fruits harvested by this beautiful project can still be found on the internet and consist of articles, interviews, event coverage, videos and many other things.

The name Salsa Power was so respected that you could not talk about the Latin salsa scene in the United States without mentioning it, especially in South Florida, a place where competition for the first places was at its higuest. This competition was not only between artists and musical groups, but also between media, associations and academies, triggering some inconvenience and regrettable situations like the one experienced by Jacira and Julián a few years ago.

Jacira paid for all the expenses related to Salsa Power
Jacira paid for all the expenses related to Salsa Power

Controversies

Jacira has had run-ins with some important personalities of the Latin music community in Florida because of her political positions, which went against the current of a large number of Latin artists and dancers at that time, especially those who are part of the Cuban exile. Her attitudes towards the political situation in Cuba have been highly controversial, mainly those related to the U.S. economic embargo on the Caribbean country and the limitations on free cultural exchange between both nations. Both Castro and other leaders of the entertainment industry were opposed to the decades-old blockade, which has been maintained until today.

This caused the dance teacher to make some enemies in the Miami music scene, which led to the hacking of Salsa Power with the caption ”This is a communist website” in big red letters along with a message whose author calls Jacira ”communist” and ”pro-Fidel Castro”. Obviously, she got worried and immediately called Julian to bring down the page.

As they began to diagnose the issue and its possible causes, they concluded that those responsible were part of an association composed of a dozen dance schools in Miami and its sorroundings called Salsa United. Around the same time, this organization had just created its own website, which published content very similar to that of Salsa Power, so much so that its principal spokesperson Jolexy Hurtado and Jacira came to have some arguments and run-ins due to how much alike the interviews were in both websites. The conflict reached at such a level that Jacira states that Hurtado told her she was messing with the wrong guy.

Undoubtedly, this whole situation was a big headache for the web designer, but has never let any of this daunt her or make her feel inadequate. On the contrary, she has grown before adversities and has faced them with the gallantry that has always characterized her, since she knows what her work is worth in terms of quality and globality.

However, there comes a point when the effort and time invested are not enough, so it is time to be realistic and assume that everything has its end, as the great Héctor Lavoe would say.

Jacira and Larry
Jacira Castro with producer, composer, and pianist Larry Harlow

Farewell to Salsa Power and Jacira’s current life

After 22 years of operation of the Salsa Power project, many of the correspondents who provided information for the page got married, had children, studied, moved and pursued other professional opportunities that did not allow them to continue their work. For the same reason, Jacira had no choice but to terminate the project that was her life for more than two decades and publish a farewell message thanking all her readers for their support over the years and assuring that she will continue to travel and enjoy salsa and dance.

In spite of abandoning her duties as administrator of Salsa Power, the great impact of the Chilean-American’s work on those who have come to know her and collaborate with her cannot be denied. On her LinkedIn profile, there plenty of favorable reviews about her professionalism and commitment in every activity she makes.

From International Salsa Magazine, we wish her the greatest success in every project she undertakes and that she enjoys all the stages that are to come.

Read also. Pacifica Radio, history, shows and controversy

Kizomba as a result of war and colonization

The fight for Angola’s independence was a long and difficult struggle that endured for several decades. The country was colonized by Portugal in the 16th century, and for centuries the Portuguese imposed their culture, language, and political system on the Angolan people. However, the Portuguese colonization also led to the exploitation of the country’s resources, the forced labor of its people, and the suppression of its cultural identity.

In the mid-20th century, there came a wave of anti-colonial movements across Africa and Angola was no exception. The Angolan people began to demand their right to self-determination and freedom from colonial rule. In 1961, the National Front for the Liberation of Angola (FNLA) conducted a guerrilla war against the Portuguese, followed by the People’s Movement for the Liberation of Angola (MPLA) and the National Union for the Total Independence of Angola (UNITA) in the following years. The struggle for independence was marked by heavy fighting, political instability, and international intervention, but in 1975, Angola finally got its independence, ending over four centuries of Portuguese colonial rule.

Kizomba Dancer

Angola, officially known as the Republic of Angola, is a country located in southwestern Africa. It is known for its rich culture, vibrant music, and stunning natural beauty. One of Angola’s most famous cultural exports is kizomba, a popular dance and music genre that originated in the country and has spread to other parts of the world.

Angola has a long and complex history, marked by centuries of colonization, slavery, and war. The country was colonized by Portugal in the 16th century and remained under Portuguese rule until 1975, when it got its independence. The legacy of colonialism and the struggle for independence have had a profound impact on Angola’s cultural identity, including its music and dance traditions.

Kizomba, which means “party” or “celebration” in Kimbundu, one of the Bantu languages spoken in Angola, emerged in the 1980s and 1990s as a fusion of Angolan semba music, Caribbean zouk, and other African rhythms. Semba is a traditional dance and music genre that originated in Angola and is characterized by its joyful tempo, complex rhythms, and energetic movements. Zouk is a popular dance and music genre that originated in the French Caribbean and is characterized by its slow and sensual tempo, soft melodies, and romantic lyrics.

Young woman dancing kizomba

Young woman dancing kizomba

Kizomba music, in contrast to semba, is characterized by its slow and sensual tempo, soft melodies, and rich harmonies. The lyrics of kizomba songs are often sang in Portuguese, the official language of Angola, and deal with themes of love, romance, and social issues. Kizomba dancing is characterized by its close embrace and smooth, flowing movements. It is often danced in pairs, with the leader guiding the follower in gentle steps and turns.

Kizomba became popular in Angola in the 1990s, especially in Luanda, the country’s capital. The dance quickly spread to other parts of the country and became an important part of Angola’s cultural heritage. Kizomba dance parties, known as “kizombadas,” were held in clubs, bars, and community centers, attracting people of all ages and backgrounds.

In recent years, kizomba has gained popularity in other parts of the world, particularly in Europe, where it has become a popular social dance. Kizomba festivals and workshops have been held in many countries around the world, attracting dancers and music lovers from different cultural backgrounds.

Kizomba is not only a dance and music genre but also a cultural expression that reflects the history and identity of Angola and its people. It is an important part of the country’s cultural heritage and a source of pride for Angolans around the world.

Opening of the 28th edition of…

Tempo Latino Social Club presents:

Ana Tijoux,

ANA Tijoux, emblematic figure of Latin rap, joins us at the opening of the festival! A strong and committed French-Chilean artist born in her native Lille to Chilean parents exiled by the dictatorship, ANA has bult her musical style on the fundamental rhythms of Rap and the Chilean folkloric colors of her origin.

Her background, influences and temperament give her an indomitable stage strength to tackle political issues wildly. From Europe to Latin America, singing in Spanish with humor and rebellion has led her to consolidate her presence in the international scene of the Latin Rap wave and win Grammys.

After opening for Iggy Pop, the iconic Stooges figure said that “she knows what she’s doing!”

The Tempo Latino Social Club welcomes her into their circle of shared values with proudly and respectfully.

Tempo Latino

The Conga sets the TEMPO!

Between psychedelic palm trees, tropical white sand and the first day’s frenzy, we’ll meet at 19h on the Conga stage to embark on the 28th edition.

Imagined in 2022… the Tempo Latino Social Club*, born from our associative, voluntary and committed structure, brings us together to share our values of cultural and musical mestizaje…

*This evening does not cover the pass for the Tempo Arena concert.

Tempo Latino

Immediate boarding for the Tempo Latino 2023 ¡El Único!

Tempo Latino

Partenaires Tempo Latino

THANKS
Public… Artists… Technicians… Partners… Professionals…
Tempo VOLUNTEERS

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International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.