The aim of this thesis is to investigate representations of kizomba in the popular context. The main question of the paper is how kizomba as a dance is created. What I explore in this paper is how the kizomba spread to Europe, which people contributed most to it, to what extent it was changed, what elements it retained, which it rejected, where it is danced today and what meaning it has for those who dance it. In order to better understand the structure of this dance today, it is necessary to encompass the broader context, its time and place of origin. Through auto-ethnography, interpretation of interviews, and analysis of online sources, I came to the information that kizomba as a dance was officially created, or got its name, in Portugal at the beginning of the 21st century and has since been taught in dance schools. It took ten years for this dance to reach Croatia. With the change of context and the evolution of music, the dance itself changed and some new dances were created, such as urban kiz, tarraxine, zouk. Today there are kizomba instructors as well as kizomba festivals. At the end of the 20th century, kizomba in Angola and neighboring countries signified entertainment and socializing, while today it implies the music genre and the type of dance. By changing the context, cultural practice, in this case kizomba, is constantly changing and creating.