Between 2009 and 2019, the Urban Dance Encounters marked a decade of artistic and cultural engagement on the streets of Vitória. Organized by the UDES collective, these free monthly gatherings were more than just dance events: they were spaces for learning, belonging, and expression through urban dance. UDES was born from the urgent need to create spaces that valued urban dance in its specificities, away from the context of competition over who could dance best, but in a collective setting, with the goal of uniting the dancers of the time.

Urban dances were born from Black and popular experiences, from everyday resistance that permeated the body and produced identity based on its origins and trajectories. At the time, we didn't realize it, but this event was a political gesture, as we had our position: to provide a space for youth to express themselves through dance, without judgment or competition. Furthermore, we brought a lot of orality to the Meeting, whether through the microphone, in conversation, or teaching a participant to dance. We saw children, young people, adults, and the elderly free in that place, where joining "the circle" was like a stamp of one's own identity.

And fashion in this context? It was the perfect combination of body, clothing, and image. Styles reflected hip-hop, skater, and Afro cultures. Pop star Michael Jackson was also a reference. Some of the trending pieces and objects included: Adidas Superstar sneakers, Puma Suede Classic sneakers, oversized shirts, flat-brimmed caps were beginning to appear, wide-leg jeans, Bermuda shorts for women, bold makeup, braided hair, girls embracing their curly hair, bandanas and durags on their heads, chains, and handmade urban prints on t-shirts. The skin-to-fabric connection communicated origins, influences, and belonging. Looser clothing was made with tactel or denim for pants and shorts, cotton t-shirts and cropped tops provided the right ergonomics for movement. There were those who dedicatedly thought about their "Saturday look," and those who dressed on the spur of the moment—anything went.

Getting there was also a challenge in itself, whether by bus, car, foot, or bike. The low-bike culture crowd was also present, with their ultra-customized bikes that were a hit there. People came from other cities in Espírito Santo to participate; backpacks were a key part of this journey. The gatherings revealed talents, created dance groups, strengthened bonds, and inspired other collectives and arts professionals. This collection stems from the desire to preserve this history, and today I'm certain we've reaped the rewards and that other initiatives like this will come to fruition. Long live urban dance!