Soukous

Last updated

Soukous (from French secousse , "shock, jolt, jerk") is a genre of dance music originating from the Democratic Republic of the Congo (formerly Zaire) and the Republic of the Congo (formerly French Congo). [1] It derived from Congolese rumba in the 1960s, with faster dance rhythms and bright, intricate guitar improvisation, [2] and gained popularity in the 1980s in France. [3] Although often used by journalists as a synonym for Congolese rumba, both the music and dance associated with soukous differ from more traditional rumba, especially in its higher tempo, song structures and longer dance sequences. [3]

Contents

Soukous fuses traditional Congolese rhythms with contemporary instruments. It customarily incorporates electric guitars, double bass, congas, clips, a third guitar (mi-solo), and brass/woodwinds. [4] [5] Soukous lyrics often explore themes of love, social commentary, amorous narratives, philosophical musings, and ordinary struggles and successes. [2] Singers occasionally sing and croon in Lingala, Kikongo, French and Swahili and bands often consist of a primary vocalist accompanied by several backing singers. [6] [7]

Musical form

The basic line-up for a soukous band included three or four guitars, bass guitar, drums, brass, and vocals. [8] A soukous arrangement commences with a rumba section featuring intricate harmony. However, as the song progresses into the mid-tempo and final fast sections, harmony often simplifies to three chords. [9] In Matonge, the rhythmic guitar typically chaperones mid-tempo vocals, with bass and bass drums emphasizing strong beats while guitarists accentuate offbeats (one and two and three and four and). [9] During singing, the lead guitarist creates a groove to support harmonized call-and-response vocals. [9] Soukous lead guitarists are celebrated for their speed, precision, and nimble fingerwork, often high on the fretboard. [9]

Franco Luambo popularized placing the sébène at a song's end and using a thumb-and-forefinger picking technique for a sonic illusion of two guitar lines. [10] Sébène originates from "seven," referencing dominant 7th chords from English-speaking Ghanaian palm-wine players. [9] During a sébène, the drummer signals changes, guiding guitarists to shift parts in sync with the lead player. The typical Congolese progression for sébène is I-IV-V-IV. Collaborating with other guitarists and a drummer enhances proficiency. [9]

Soukous bass parts, derived from hand-drum percussion, contribute strong rhythm and harmony. Emerging during Mobutu Sese Seko's regime in Zaire, soukous music's aggressive bass style imitated soldiers' movements, known as marche militaire. This bass style involves toggling between low and high lines, employing picking with p and i. [9]

History

Origins

The origins of the genre can be traced back to Congolese rumba, which emerged in the early 20th century when urban residents of the French Congo and the Belgian Congo embraced the fusion of intertribal Kongolese maringa dance music near Pool Malebo, infused with guitar techniques from Liberia. [11] The outflow of Kru merchants and sailors from Liberia to Brazzaville during the mid-19th century introduced distinctive guitar-playing techniques that ultimately influenced the use of the accordion to emulate local "likembe" (thumb piano, best known worldwide as a mbira) rhythms. [11] [12] As early as 1902, the accordion's melodies resonated through the streets near Pool Malebo's factories. [11]

A duo performing at Congolese rumba nightspot in Leopoldville Club de rumba congolaise a Leopoldville.jpg
A duo performing at Congolese rumba nightspot in Léopoldville

The outbreak of World War I introduced a new wave of music and dance across the Lower Congo (present-day Kongo Central) and the Pool Malebo region. [11] Emerging from labor camp and conceivably associated with the return of Matadi–Kinshasa Railway construction workers, local dances such as agbaya and maringa gained prominence. [11] The circular agbaya dance was soon replaced by partnered maringa dance music, becoming increasingly ubiquitous in Matadi, Boma, Brazzaville, and Léopoldville (now Kinshasa). [11] Initially, maringa bands featured the likembe for melody, a metal rod-struck bottle for rhythm, and a small skin-covered frame drum called patenge for counter-rhythms. [11] However, by the 1920s, accordions and acoustic guitars progressively supplanted the likembe as melody instruments. The distinctive hip movements of maringa dancers, shifting their body weight between legs gained popularity. [11] By 1935, partnered dancing's popularity dispersed expeditiously across the Congo basin, reaching even remote villages. Dance halls emerged in towns and rural areas, while conventional dancing persisted in palm branch huts. [11]

Congolese rumba bar in Leopoldville Bar de rumba congolaise a Leopoldville de 1955 a 1965.jpg
Congolese rumba bar in Léopoldville

In the early 1940s, Pool Malebo transformed from a barrier into a communication channel linking Brazzaville and Kinshasa. [11] The Cuban son groups like Sexteto Habanero, Trio Matamoros, and Los Guaracheros de Oriente were broadcast on Radio Congo Belge, gaining popularity in the country. [11] [13] [14] Due to influence of Cuban son, the maringa dance music—although unrelated to Cuban rumba—became known as " rumba Congolaise " as the imported records of Sexteto Habanero and Trio Matamoros were often mislabeled as "rumba". [15] [11] [16] Ethnomusicology Professor Kazadi wa Mukuna of Kent State University explicates that the term "rumba" persisted in the Congos due to recording industry interests. Recording studio proprietors reinterpreted the term rumba by attributing it new maringa rhythm while retaining the name. [15] Consequently, their music became recognized as "Congolese rumba" or "African rumba". Antoine Wendo Kolosoy became the first star of Congolese rumba touring Europe and North America with his band Victoria Bakolo Miziki. His 1948 hit "Marie-Louise," co-written with guitarist Henri Bowane, gained popularity across West Africa. [17] [18] Congolese rumba gained prominence in Congolese music as early pioneers revolutionized their relationship with the instruments they held. [19] [20]

Formation and paternity debate

Drummer of TPOK Jazz in Leopoldville Orchestra OK Jazz a Leopoldville de 1955 a 1965.jpg
Drummer of TPOK Jazz in Léopoldville

Etymologically, the term soukous, derived from the French verb secouer, denoting "to shake," initially described a person who moved jerkily but evolved into a dance style synonymous with vitality and cadence. [21] The term secousse evolved over time, transitioning to soucousses and eventually soucous in colloquial language and the media, until the "c" fell out of favor, replaced by a "k". [21]

During the early 1960s, a surge of young Congolese musicians sought to speed up the slow tempo of Congolese rumba, which precipitated the emergence of soukous. Artists began incorporating faster rhythms, and prominent guitar improvisation, often characterized by high-pitched, fast-paced lines imbued with more heightened African motif. The drummer shifts to the high-octane cadence, wherein the clave rhythm shifts to the snare drum, singers engage in rhythmic chanting (animation), and lead guitars take center stage. [22] [2] [23] [10]

Franco Luambo Makiadi.jpg
Docteur Nico.jpg
Franco Luambo (left) and Dr. Nico Kasanda (right) are often credited as pioneers of soukous

The origins of soukous are a matter of dispute, with divergent attributions and viewpoints. Clément Ossinondé, a Congolese musicologist specializing in Congolese music, accredits Franco Luambo and TPOK Jazz with pioneering soukous, citing his odemba-inspired style, known for its fast tempo. [24] Franco is also recognized for revolutionizing the genre's themes by infusing significant social and political issues into the lyrics, making the music a platform for social consciousness. [22] [2] [23] [10] Conversely, British writer Gary Stewart suggests that soukous evolved into both a music genre and dance style in Brazzaville, stemming from the establishment of the Super Band in 1964 by up-and-coming guitarist Jacques Kimbembe. [25] The ensemble, later rebranded as Sinza, meaning "root stock," introduced soukous to Brazzaville's nightlife in 1966, supplanting the traditional boucher style of Les Bantous de la Capitale. [25] Stewart further notes that Orchestre Sinza innovated soukous in 1968 with a new wrinkle called mossaka, and soon thereafter, Nico Kasanda introduced the kiri-kiri, which was based in part on the "jerk" from Western rock. [25] Meanwhile, Les Bantous de la Capitale developed a fusion with Pablito's song "Masuwa," billed as a soucous-kiri-kiri. The kiri-kiri, which, according to Stewart, became a defining piece of the genre as exemplified by Nico's "Kiri-Kiri Mabina ya Sika," telling the story of a man's quest through Kinshasa's streets to reunite with his partner for a kiri-kiri session at Fiesta Sukisa, and gaining immense acclaim. [25]

1960s and 1970s

Europe and the United States

Tabu Ley Rochereau performing at the Paris Olympia in 1970 Rochereau performing at Paris Olympia.jpg
Tabu Ley Rochereau performing at the Paris Olympia in 1970

In the late 1960s and early 1970s, soukous became a predominant popular African dance style across Africa and into the continent's diaspora in Belgium, France, the UK, and the United States. [26] [27] During this period, a surge of Zairean musicians moved to Belgium and France, primarily driven by the hegemony of the Mobutu Sese Seko regime, which propagated propaganda songs as part of the Authenticité campaign to foster a sense of national identity and pride through ideological slogans of the one-party state, the Movement Populaire de la Révolution (MPR). [28] [29] [30] This state ideological shift gradually infiltrated Zairean popular music, with popular musicians embracing the regime's ideology and documenting its achievements. Mobutu's encouragement of urban musicians paralleled Mao Zedong's approach in China, where music served the revolution. [31] [29] [32] As a result, the globalization of Congolese urban music expanded, leading to a massive exodus of musicians to African and European countries, most notably Belgium and France. [31] [33] Many youths with limited employment options gravitated towards a music career, with Kinshasa's soukous scene becoming an attractive choice. However, some faced obstacles in establishing themselves in France. [15] [34] [26] Against this backdrop, Tabu Ley Rochereau made history as the first African artist invited to perform at Paris's Olympia Hall in December 1970, where he attracted few connoisseurs and set a precedent for subsequent Zairean musicians. [26] [35] [36] [37] Abeti Masikini followed suit, becoming the second Zairean and the first female soukous artist to grace the Olympia stage alongside Mireille Mathieu and Hugues Aufray. [38] [39] [40] This momentum continued with Masikini's performance at Carnegie Hall in New York on 11 March 1974, setting the stage for burgeoning singers, griots, and other lesser-known divas from Africa. [26] [41] Concurrently, the M'Bamina orchestra ventured to Paris before seeking alternative audiences in Italy in 1972. [26]

Africa

Across Africa, soukous dominated East African nightclubs' dance floors and played a pivotal role in shaping virtually all the styles of contemporary African popular music, including benga music, muziki wa dansi, highlife, palm-wine music, taarab, and inspiring the establishment of approximately 350 youth orchestras in Kinshasa, paving the way for new traditional dances, rhythmic patterns, and bands. [42] [43] [10] [44]

Zaiko Langa Langa performing in 1971. From left to right: Beaudoin Mitsho, Meridjo Belobi (behind), Enoch Zamuangana (behind), Teddy Sukami, Papa Wemba, Damien Ndebo (behind), Evoloko Jocker, Felix Manuaku Waku Congolese band Zaiko Langa Langa in 1971.jpg
Zaïko Langa Langa performing in 1971. From left to right: Beaudoin Mitsho, Meridjo Belobi (behind), Enoch Zamuangana (behind), Teddy Sukami, Papa Wemba, Damien Ndebo (behind), Evoloko Jocker, Félix Manuaku Waku

As sociopolitical turmoil in Zaire deteriorated in the 1970s, a great number of musicians ventured to Tanzania, Kenya and Uganda, where orchestras sustained themselves through record sales and consistent stage performances. By the early 1970s, several Congolese bands had taken up the soukous beat in Kenyan nightclubs. [45] [46] [47] [48] [49] The vivacious cavacha dance craze, propagated by bands like Zaïko Langa Langa and Orchestra Shama Shama, swept across East and Central Africa, exert influence on Kenyan musicians. [50] The utilization of the cavacha rhythm, typically played on the snare drum or high-hat, became emblematic of the Zairean sound in Nairobi and was frequently adopted by regional bands. Prominent Congolese rumba Swahili bands in Nairobi formed around Tanzanian groups like Simba Wanyika, giving rise to offshoots like Les Wanyika and Super Wanyika Stars. [42] [51] [46] Maroon Commandos, a Nairobi-based ensemble, assimilated the soukous style while infusing their distinctive artistic imprint. Japanese students in Kenya, including Rio Nakagawa, developed a fondness for Congolese music, with Rio eventually spearheading Yoka Choc Nippon, a Japanese-conceived Congolese rumba group. [52]

A posture of Pepe Kalle in 1978 A posture of Pepe Kalle in 1978.jpg
A posture of Pépé Kallé in 1978
Gaby Lita Bembo playing piano in the 1970s Gaby Lita Bembo jouant du piano a la fin des annees 1970.jpg
Gaby Lita Bembo playing piano in the 1970s

Virgin Records produced albums by the Tanzanian-Zairean Orchestra Makassy and the Kenya-based Orchestra Super Mazembe. The Swahili song "Shauri Yako" ("It's your problem") gained widespread acclaim in Kenya, Tanzania, and Uganda. Another influential Zairean ensemble, Les Mangelepa, relocated to Kenya and achieved immense popularity across East Africa. Zairean singer Samba Mapangala and his band Orchestra Virunga, based in Nairobi, released the LP Malako, which became a pioneering release in Europe's emerging world music scene. [53] [54] [55] Meanwhile, between 1976 and 1977, Sam Mangwana and the African All Stars dominated the dance halls of Kinshasa with records produced in West Africa, which were different from the sounds produced in the two-track studios of Kinshasa. Following this, there was a migration to Lomé and Cotonou, followed by Franco Luambo's departure to Belgium. [26]

In Nigeria, soukous became widespread due to the transmission of Zairean music through Radio Brazzaville, where audiences were introduced to material from Zaire Vol. 6 (Soundpoint SOP 044, 1978). [56] [57] Soukous catalyzed the emergence of a distinct genre of guitar-based Igbo highlife music, exemplified by musicians like Oliver De Coque, the Oriental Brothers International, and their various imitators and followers. [56] [58] [59] [60] The superabundance of Nigerian pressings of Zairean music featured the musicians who influenced this trend, as seen in the case of Music From Zaire Vol. 6, which showcased artists from Verckys Kiamuangana Mateta's stable like Orchestre Kiam, Orchestre Lipua-Lipua, and the cavacha rhythm. [56] There was a prevalent inclination to exclude the slower "A" sides of various recordings and instead focus on the climactic sebene, the faster and more improvisational second half. [56] This structural paradigm became emblematic of Igbo guitar highlife recordings epitomized by the music style of Oliver De Coque and Oriental Brothers International. [56]

Colombia

During this epoch, African music began procuring popularity globally due to the world music movement. In Colombia, soukous gained traction, influencing local culture and playing a pivotal role in pioneering champeta. [61] [62] Zairean sailors introduced their records to Colombia, including the plate-numbered 45 RPM "El Mambote" by Congo's l'Orchestre Veve, which gained popularity. [49] The locals began replicating musical arrangements by Congolese luminaries like Nicolas Kasanda wa Mikalay, Tabu Ley Rochereau, M'bilia Bel, Syran Mbenza, Lokassa Ya M'Bongo, Pépé Kallé, Rémy Sahlomon, and Kanda Bongo Man. Homegrown talents like Viviano Torres, Luis Towers, and Charles King added their original compositions to the mix, maintaining the core essence of Congolese soukous. [48] [63] [49]

1980s and the Paris scene

As sociopolitical unrest persisted in Zaire throughout the 1980s, numerous musicians sought refuge across Africa, with a considerable number relocating to Belgium, France, and the United Kingdom. Some traversed through Central and East Africa before ultimately establishing their operational bases in Europe. [64] [65] [66] [67] [68] Soukous gained traction in Brussels, Paris, and London, emerging as the only sub-Saharan African genre universally embraced in Belgium and France. [69] According to Congolese columnist Achille Ngoye, Belgium offered a significant permanent operational base for numerous Zairean artists. [26] Orchestras such as Los Nickelos, Yéyé National, and Les Mongali, predominantly composed of students, garnered significant attention in Belgium. [26] [70] [71] Uncle Yorgho, a former member of OK Jazz, established a distribution epicenter for Zairean musical repertoire in Brussels in July 1980 (Visa 80). [26] Meanwhile, Dieudonné Kabongo, Dizzy Mandjeku, and Ntesa Dalienst rose to prominence due to the bankruptcy of Belgian record label Fonior!, which prompted many Zairean artists like Lita Bembo and Matima to seek reputable distribution entities in Belgium, while others found solace in performing in religious choirs, which frequently toured Holland. [26]

Koffi Olomide and Papa Wemba, 1988 Papa Wemba and Koffi Olomide, 1988.jpg
Koffi Olomidé and Papa Wemba, 1988

The influx of Zairean artists to France catalyzed the proliferation of Parisian studios as epicenters for soukous production, with an increasing reliance on synthesizers and electronic instruments. Some artists continued to record for the Congolese market, but others abandoned the demands of the Kinshasa public and set out to pursue new audiences. [72] [26] [73] A sizable Zairean community established itself in France and Switzerland, with Zairean artists conducting training programs in the country. [26] Artists like Papa Wemba maintained dual bands, with Viva La Musica focusing on soukous and another group featuring French session players for international pop. [72] [73] Additionally, musicians like So Kalmery and Armando experimented with binary rhythms. [26] Kanda Bongo Man, another Paris-based artist, pioneered fast, short tracks conducive for play on dance floors worldwide, popularly known as kwassa kwassa, after the dance moves popularized in his and other artists' music videos. This music appealed to Africans and to new audiences as well. Artists like Diblo Dibala, Aurlus Mabélé, Tchicl Tchicaya, Jeannot Bel Musumbu, M'bilia Bel, Yondo Sister, Tinderwet, Loketo, Rigo Star, Madilu System, Soukous Stars and veterans like Pépé Kallé and Koffi Olomidé followed suit. Soon Paris became home to talented studio musicians who recorded for the African and Caribbean markets and filled out bands for occasional tours. [45] [74]

Swede-Swede, an ensemble exclusively employing traditional instruments, operates out of Belgium, while Les Malo, primarily comprising former instructors from the National Institute of Arts in Kinshasa, specializes in Afro-jazz in Lyon. [26] Tshala Muana gained prominence in Africa and Europe for her Luba traditional hip-swaying dance known as mutuashi, which make waves across African stadiums and earned her the moniker of "Queen of Mutuashi". [26] Other female vocalists such as Déesse Mukangi, Djena Mandako, Faya Tess, Isa, and Abby Surya garnered widespread recognition. [26]

Ndombolo

By the late 1990s, musicians such as Radja Kula, Wenge Musica, Koffi Olomidé, Général Defao, and Extra Musica metamorphosed soukous into raunchy, frenetic hip-swinging dance music, renaming it ndombolo . [75] [76] [77] [78] [79] This style surged in popularity across Africa and into the continent's diaspora in Belgium, France, the UK, Germany, Canada, and the United States. [80] [81] [82] However, by the early 2000s, ndombolo faced scrutiny, with accusations of obscenity leading to attempts to prohibit it from state media in the Democratic Republic of the Congo, Cameroon, Senegal, Mali, and Kenya. [83] [84] [85] [86] In February 2005, ndombolo music videos in the Democratic Republic of the Congo underwent censorship for indecency, which resulted in the banning of videos by Koffi Olomidé, JB MPiana, and Werrason from airwaves. [87] Despite the censure, ndombolo record sales surged, remaining popular with new releases dominating discos, bars, and clubs across Africa. [88]

See also

Related Research Articles

<span class="mw-page-title-main">Music of the Democratic Republic of the Congo</span> Overview of musical traditions in Congo-Kinshasa

Congolese music is one of the most influential music forms of the African continent. Since the 1930s, Congolese musicians have had a huge impact on the African musical scene and elsewhere. Many contemporary genres of music, such as Kenyan Benga and Colombian Champeta, have been heavily influenced by Congolese music. In 2021, Congolese rumba joined other living traditions such as Jamaican reggae music and Cuban rumba on UNESCO's "intangible cultural heritage of humanity" list.

<span class="mw-page-title-main">Papa Wemba</span> Congolese musician

Jules Shungu Wembadio Pene Kikumba, known professionally as Papa Wemba, was a Congolese singer and musician who played Congolese rumba, soukous, and ndombolo. Dubbed the "King of Rumba Rock", he was one of the most popular musicians of his time in Africa and played an important role in world music. He was also a fashion icon who popularized the Sape look and style through his musical group Viva la Musica, with whom he performed on stages throughout the world.

<span class="mw-page-title-main">African popular music</span> Overview of popular music in Africa

African popular music, like African traditional music, is vast and varied. Most contemporary genres of African popular music build on cross-pollination with Western popular music. Many genres of popular music like blues, jazz, salsa, zouk, and rumba derive to varying degrees on musical traditions from Africa, taken to the Americas by enslaved Africans. These rhythms and sounds have subsequently been adapted by newer genres like rock, and rhythm and blues. Likewise, African popular music has adopted elements, particularly the musical instruments and recording studio techniques of the Western music industry. The term does not refer to a specific style or sound but is used as a general term for African popular music.

<span class="mw-page-title-main">Koffi Olomide</span> Congolese musician (born 1956)

Antoine Christophe Agbepa Mumba, known professionally as Koffi Olomidé, is a Congolese singer-songwriter, dancer, producer, and founder of Quartier Latin International. Often referred to as the "King of Ndombolo", he is noted for his explosive high notes, deep baritone, and offbeat voice. Agbepa is considered one of the most significant figures in 20th-century Congolese and African popular music. His lyrics often explore themes of love, politics, technology, success, infidelity, religion, chicanery, and disillusionment. Through his music and stage performances, he introduced the slower style of soukous known as Tcha Tcho and popularized a flamboyant fashion subculture called La Sape, alongside Papa Wemba.

<span class="mw-page-title-main">Ndombolo</span> Congolese dance music genre

Ndombolo, also known as dombolo, is a genre of dance music originating in the Democratic Republic of the Congo. Derived from soukous in the 1990s, with fast-paced hip-swaying dance rhythms, often accompanied by upbeat, percussion-driven music, the style became widespread in the mid-1990s and the subsequent decade, dominating dancefloors in central, eastern, and western Africa. It inspired West African popular music, coupé-décalé, Kuduro, and East African dance music.

<span class="mw-page-title-main">Congolese rumba</span> Genre of African music and dance

Congolese rumba, also known as African rumba, is a dance music genre originating from the Republic of the Congo and Democratic Republic of the Congo. With its rhythms, melodies, and lyrics, Congolese rumba has gained global recognition and remains an integral part of African music heritage. In December 2021, it was added to the UNESCO list of intangible cultural heritage.

Bisso Na Bisso is a music collective originating from the Republic of the Congo. The group was formed in 1999 and consists of rappers and singers, including Ben-J, a member of Les Neg'Marrons; the duo Lino and Calbo from Ärsenik; Doc and G Kill, renowned members of 2Bal; Mystik; and the only female rapper, M'Passi. The group was put together by the French rapper Passi.

<span class="mw-page-title-main">Wendo Kolosoy</span> Congolese musician (1925–2008)

Antoine Wendo Kolosoy, known as Papa Wendo, was a Congolese musician. He is considered the "doyen" of Congolese rumba, a musical style blending traditional Kongolese rhythm and son cubano.

Viva La Musica is a popular band from Zaire founded by singer Papa Wemba in 1977. While Viva La Musica started out as a soukous band, it eventually grew into a world music act, reaching some popularity and success in the European, American, and even Asian markets, as well as in most of Africa. The band is still active today, although it is just one of a number of musical ensembles used by Papa Wemba as a backup for his essentially soloist production.

<span class="mw-page-title-main">Fally Ipupa</span> Congolese musician and dancer (born 1977)

Fally Ipupa N'simba, known professionally as Fally Ipupa, is a Congolese singer-songwriter, dancer, philanthropist, guitarist, and producer. Often referred to as the "Prince of Rumba", he is noted for his tenor vocals as well as his blend of contemporary and traditional Congolese music genres, including Congolese rumba, soukous, and ndombolo. His lyrics often cover themes of romance, suffering, and joy.

Innocent Didace Balume, known professionally as Innoss'B, is a Congolese singer-songwriter, rapper, percussionist, dancer, and philanthropist. Often referred to as the "Jeune Leader," he is renowned for pioneering the AfroCongo music genre, an eclectic fusion of Congolese rumba, indigenous folklore, and ndombolo.

<span class="mw-page-title-main">Abeti Masikini</span> Congolese musician and philanthropist (born 1994)

Elisabeth Finant, cognomenously known as Abeti Fina‐Masikini or simply Abeti Masikini, was a Congolese singer, composer, bandleader, and philanthropist. With a nearly three-decades-long career, she was a significant figure in 20th-century Congolese and African popular music. Often referred to as the "Queen of Soukous", she is noted for advocating gender equality, modernizing Congolese music, and inspiring successive generations of musicians. Her band, Les Redoutables, was a launching pad for numerous female artists.

<span class="mw-page-title-main">Cindy Le Coeur</span> Congolese musician (born 1983)

Candy Nkunku, known professionally as Cindy Le Coeur, is a Congolese recording artist, singer, and dancer. She is a member of the Congolese band Quartier Latin International, formed and led by prolific musician Koffi Olomide.

<span class="mw-page-title-main">Ferré Gola</span> Congolose musician (born 1976)

Hervé Gola Bataringe, known professionally as Ferré Gola or Ferre Gola, is a Congolese singer-songwriter, dancer, and record producer. Revered as the "Jésus de Nuances", he is regarded as one of the most significant figures of the fifth-generation Congolese rumba. His lyrics predominantly revolve around themes of love, social support, and interpersonal relationships.

Kekele was a band formed in 2000, composed of leading veteran African musicians, mostly from the Democratic Republic of the Congo. They played Congolese rumba in a revival style harkening back to the 1950s, 60s, and 70s, using acoustic guitars. Kekele seems to be dormant or defunct, having not released a recording since 2006 nor performed since (apparently) 2010.

Defao was a Congolese singer-songwriter. He was a member of the prominent soukous groups Grand Zaiko Wawa and Choc Stars.

<span class="mw-page-title-main">Jolie Detta</span> Congolese singer-songwriter, dancer, and evangelist

Jolie Detta Kamenga Kayobote, professionally known as Jolie Detta or Evangeliste Myriam, is a Congolese singer-songwriter, dancer, and evangelist. She made her music debut as a member of Choc Stars between 1983 and 1984. Detta later joined Tabu Ley's Orchestre Afrisa International in 1985 and then Franco Luambo's Ok Jazz in 1986, where she garnered national acclaim as the lead vocalist in the band's Extended Play (EP) Le Grand Maitre Franco et son Tout Puissant O.K. Jazz et Jolie Detta, in collaboration with Franco and Simaro Lutumba. The EP featured hit singles "Massu," "Cherie Okamuisi Ngai," "Layile," and "Likambo Ya Somo Lumbe," catapulted her into the limelight with a debut tour to Kenya with OK Jazz the same year. She later rejoined Choc Stars and recorded successful releases before joining Bozi Boziana's newly established ensemble Orchestre Anti-Choc in 1988 after Choc Stars disbanded. Anti-Choc's album La Reine de Sabah, released at the end of 1988, and its eponymous lead single, composed by Boziana, was named the Best Song of the Year and earned her the Best Voice of the Year for her performance.

Félix Nlandu Wazekwa, known professionally as Félix Wazekwa, is a Congolese singer-songwriter, author, filmmaker, dancer, and bandleader. Known for his Lingala deep lyrics and baritone voice, he is regarded as an influential figure in soukous and Congolese rumba music and one of the most prominent lyricists of his generation.

<span class="mw-page-title-main">Sebene</span> Congolese rumba instrumental section

Sebene, also known as seben, is an instrumental section commonly played in Congolese rumba. It is usually played towards the end of the song and is the dancing section where the lead and rhythm guitars take the lead in the dance. It is characterized by the repetition of a specific number of notes during the passage of second chords: one major chord and one-seventh chord, which gives rise to the Lingala derivation "sebene," derived from the English numeral "seven" or its ordinal rendition.

References

  1. ↑ Appiah, Anthony; Gates, Henry Louis (2010). Encyclopedia of Africa, Volume 1. Oxford, UK: Oxford University Press. pp. 407–408. ISBN   9780195337709.
  2. 1 2 3 4 Appiah, Anthony; Gates (Jr.), Henry Louis (2010). Encyclopedia of Africa. Oxford, United Kingdom: Oxford University Press. pp. 407–408. ISBN   978-0-19-533770-9.
  3. 1 2 Peek, Philip M.; Yankah, Kwesi (2004). African Folklore: An Encyclopedia. New York, NY: Routledge. p. 548. ISBN   9781135948733.
  4. ↑ Davies, Carole Boyce (July 29, 2008). Encyclopedia of the African Diaspora [3 volumes]: Origins, Experiences, and Culture [3 volumes]. Santa Barbara, California: Bloomsbury Publishing USA. p. 849. ISBN   978-1-85109-705-0.
  5. ↑ Domosh, Mona; Jordan-Bychkov, Terry G.; Neumann, Roderick P.; Price, Patricia L. (2012). The Human Mosaic. Macmillan. p. 416. ISBN   978-1-4292-7200-1.
  6. ↑ Olwig, Karen Fog; Sorensen, Ninna Nyberg (August 27, 2003). Work and Migration: Life and Livelihoods in a Globalizing World. Oxfordshire, England, United Kingdom: Routledge. p. 56. ISBN   978-1-134-50306-3.
  7. ↑ Russell, K.F. (1997). Rhythm Music Magazine: RMM. K.F. Russell. p. 45.
  8. ↑ Boomer, Tim; Berry, Mick; Bufe, Chaz (January 1, 2014). Bassist's Bible: How to Play Every Bass Style from Afro-Cuban to Zydeco. See Sharp Press. ISBN   978-1-937276-25-6.
  9. 1 2 3 4 5 6 7 Eyre, Banning (2002). Africa: Your Passport to a New World of Music. Los Angeles, California, United States: Alfred Music Publishing. pp. 12–17. ISBN   978-0-7390-2474-4.
  10. 1 2 3 4 African, New (August 15, 2018). "The mixed legacy of DRC musician Franco". New African Magazine. Retrieved August 26, 2023.
  11. 1 2 3 4 5 6 7 8 9 10 11 12 Martin, Phyllis (August 8, 2002). Leisure and Society in Colonial Brazzaville. Cambridge, United Kingdom: Cambridge University Press. pp. 131–152. ISBN   978-0-521-52446-9.
  12. ↑ Kubik, Gerhard (October 30, 2010). Theory of African Music, Volume I. Chicago, Illinois, United States: University of Chicago Press. pp. 384–385. ISBN   978-0-226-45691-1.
  13. ↑ The Encyclopedia of Africa v. 1. 2010 p. 407.
  14. ↑ Storm Roberts, John (1999). The Latin Tinge: The Impact of Latin American Music on the United States (2nd ed.). New York, NY: Oxford University Press. pp.  217–218. ISBN   978-0-19-976148-7.
  15. 1 2 3 Mukuna, Kazadi wa (December 7, 2014). "A brief history of popular music in DRC". Music In Africa. Retrieved August 25, 2023.
  16. ↑ Edward-Ekpu, Uwagbale (December 21, 2021). "Rumba's Congolese roots are finally being recognized by Unesco". Quartz. Retrieved August 27, 2023.
  17. ↑ "Les années 1970: L'âge d'or de la musique congolaise" [The 1970s: The Golden Age of Congolese Music]. Mbokamosika (in French). August 18, 2009. Retrieved August 26, 2023.
  18. ↑ "'Father' of Congolese rumba dies". BBC. July 30, 2008. Retrieved August 26, 2023.
  19. ↑ Greenstreet, Morgan (December 7, 2018). "Seben Heaven: The Roots of Soukous". daily.redbullmusicacademy.com. Retrieved August 26, 2023.
  20. ↑ Ossinonde, Clément (August 2, 2017). "Qui est à l'origine du "Sebene" dans la musique congolaise ? Sa notation musicale ?". Pagesafrik.com (in French). Retrieved August 26, 2023.
  21. 1 2 Stewart, Gary (May 5, 2020). Rumba on the River: A History of the Popular Music of the Two Congos. Brooklyn, New York, New York State, United States: Verso Books. ISBN   978-1-78960-911-0.
  22. 1 2 AP (1989). "Franco, 51, Zairian Band Leader And Creator of the Soukous Style". The New York Times. Retrieved November 18, 2022.
  23. 1 2 Appiah, Anthony; Gates (Jr.), Henry Louis (2010). Encyclopedia of Africa. Oxford, United Kingdom: Oxford University Press. p. 407. ISBN   978-0-19-533770-9.
  24. ↑ Ossinondé, Clément (March 2, 2020). "Voyage Musical : l'aller et retour de la rumba" [Musical Journey: the back and forth of the rumba]. Congopage.com (in French). Retrieved October 28, 2023.
  25. 1 2 3 4 Stewart, Gary (May 5, 2020). Rumba on the River: A History of the Popular Music of the Two Congos. Brooklyn, New York, New York State, United States: Verso Books. ISBN   978-1-78960-911-0.
  26. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Ngoye, Achille (1995). "Le soukouss des Zaïrois en Europe". Hommes & Migrations. 1191 (1): 42–47. doi:10.3406/homig.1995.2536.
  27. ↑ Winders, James A. (June 5, 2007). Paris Africain: Rhythms of the African Diaspora. New York, New York State, United States: Palgrave Macmillan US. p. 57. ISBN   978-0-230-60207-6.
  28. ↑ Ndaliko, Chérie Rivers (March 2020). "Mobutu's Ghost: A Case for the Urgency of History in Cultural Aid". academic.oup.com. Oxford, England, United Kingdom. Retrieved May 11, 2024.
  29. 1 2 Sturman, Janet, ed. (February 26, 2019). The SAGE International Encyclopedia of Music and Culture. Thousand Oaks, California, United States: SAGE Publications. ISBN   978-1-5063-5337-1.
  30. ↑ Appiah, Anthony; Gates, Henry Louis, eds. (2005). Africana: The Encyclopedia of the African and African American Experience. Oxford, England, United Kingdom: Oxford University Press. p. 201. ISBN   978-0-19-517055-9.
  31. 1 2 Wa Mukuna, Kazadi (December 7, 2014). "A brief history of popular music in DRC". Music In Africa. Retrieved May 13, 2024.
  32. ↑ Jean-Jacques, Daniel; Falola, Toyin, eds. (December 14, 2015). Africa: An Encyclopedia of Culture and Society [3 volumes]. Santa Barbara, California, United States: ABC-CLIO. p. 301. ISBN   978-1-59884-666-9.
  33. ↑ Perullo, Alex (2008). "Rumba in the City of Peace: Migration and the Cultural Commodity of Congolese Music in Dar es Salaam, 1968-1985". Ethnomusicology. 52 (2): 296–323. doi:10.2307/20174590. ISSN   0014-1836. JSTOR   20174590.
  34. ↑ Rand, Jonas (December 17, 2016). "Congolese Music, 1970s". From the Sahel to the Cape. Retrieved May 11, 2024.
  35. ↑ White, Bob W. (June 6, 2008). Rumba Rules: The Politics of Dance Music in Mobutu's Zaire. Durham, North Carolina, United States: Duke University Press. p. 114. ISBN   978-0-8223-8926-2.
  36. ↑ Africa Events: Volume 1. Dar es Salaam, Dar es Salaam Region, Tanzania: Dar es Salaam Limited. 1985. pp. 60–61.
  37. ↑ Barlow, Sean; Eyre, Banning; Vartoogian, Jack (1995). Afropop!: An Illustrated Guide to Contemporary African Music. New York, New York State, United States: Chartwell Books. p. 28. ISBN   978-0-7858-0443-7.
  38. ↑ "musicMe: Biographie de Abeti Maskini". musicMe (in French). Paris, France. Retrieved November 14, 2023.
  39. ↑ "Abeti Masikini Finant Elisabeth 1954 -1994". Universrumbacongolaise.com (in French). June 19, 2012. Retrieved November 17, 2023.
  40. ↑ Bergman, Billy (1985). African Pop: Goodtime Kings. Blandford. p. 51. ISBN   978-0-7137-1551-4.
  41. ↑ Fraser, C. Gerald (March 11, 1974). "African Singer, Too, Got A Start in Church Choir". The New York Times. ISSN   0362-4331 . Retrieved November 16, 2023.
  42. 1 2 Stone, Ruth M., ed. (April 2, 2010). The Garland Handbook of African Music. Thames, Oxfordshire United Kingdom: Taylor & Francis. pp. 132–133. ISBN   9781135900014.
  43. ↑ Messager (August 18, 2009). "Les années 1970: L'âge d'or de la musique congolaise". Mbokamosika (in French). Retrieved August 27, 2023.
  44. ↑ Sturman, Janet (February 26, 2019). The SAGE International Encyclopedia of Music and Culture. Thousand Oaks, California, United States: SAGE Publications. ISBN   978-1-5063-5338-8.
  45. 1 2 Davies, Carole Boyce (July 29, 2008). Encyclopedia of the African Diaspora [3 volumes]: Origins, Experiences, and Culture. New York City, New York State, United States: Bloomsbury Publishing USA. p. 849. ISBN   978-1-85109-705-0.
  46. 1 2 Trillo, Richard (2016). The Rough Guide to Kenya. London, United Kingdom: Rough Guides. p. 598. ISBN   9781848369733.
  47. ↑ Stewart, Gary (May 5, 2020). Rumba on the River: A History of the Popular Music of the Two Congos. Brooklyn, New York City, New York State: Verso Books. ISBN   978-1-78960-911-0.
  48. 1 2 Valdés, Vanessa K., ed. (June 2012). Let Spirit Speak!: Cultural Journeys Through the African Diaspora. Albany, New York City, New York State: State University of New York Press. pp. 40–41. ISBN   9781438442174.
  49. 1 2 3 Hodgkinson, Will (July 8, 2010). "How African music made it big in Colombia". The Guardian. ISSN   0261-3077 . Retrieved August 23, 2023.
  50. ↑ Adieu, Verckys (October 19, 2022). "congolese rumba". Cavacha Express! Classic congolese hits. Retrieved August 27, 2023.
  51. ↑ "congolese rumba". Cavacha Express! Classic congolese hits. October 19, 2022. Retrieved July 10, 2023.
  52. ↑ Mwamba, Bibi (February 7, 2022). "L'influence de la rumba congolaise sur la scène musicale mondiale". Music in Africa (in French). Retrieved August 23, 2023.
  53. ↑ "Shauri Yako — Orchestra Super Mazembe". Last.fm. Retrieved July 10, 2023.
  54. ↑ "congo in kenya". muzikifan.com. Retrieved July 10, 2023.
  55. ↑ Nyanga, Caroline. "Stars who came for music and found eternal resting place". The Standard. Retrieved July 10, 2023.
  56. 1 2 3 4 5 Beadle, John (August 18, 2010). "From Congo via Nigeria". Likembe. Milwaukee, Wisconsin, United States. Retrieved May 12, 2024.
  57. ↑ "Various – Music From Zaire Vol. 6". Discogs. Beaverton, Oregon, United States. 1978. Retrieved May 12, 2024.
  58. ↑ "Google Honors Oliver de Coque with a Doodle on his 74th Posthumous Birthday". BellaNaija. Lagos, Nigeria. April 14, 2021. Retrieved May 12, 2024.
  59. ↑ Collins, John (1994). The Ghanaian Concert Party: African Popular Entertainment at the Cross Roads. Buffalo, New York State, United States: State University of New York at Buffalo. p. 47.
  60. ↑ The Beat: Volume 14. Melbourne, Australia: Beat Magazine. 1995. p. 41.
  61. ↑ Malandra, Ocean (December 2020). Moon Cartagena & Colombia's Caribbean Coast. New York City, New York State, United States: Avalon Publishing. ISBN   9781640499416.
  62. ↑ Koskoff, Ellen, ed. (2008). The Concise Garland Encyclopedia of World Music: Africa; South America, Mexico, Central America, and the Caribbean; The United States and Canada; Europe; Oceania. Oxfordshire, England, United Kingdom: Routledge. p. 185.
  63. ↑ Slater, Russ (January 17, 2020). "Colombia's African Soul". Long Live Vinyl. Retrieved August 23, 2023.
  64. ↑ Davies, Carole Boyce (July 29, 2008). Encyclopedia of the African Diaspora [3 volumes]: Origins, Experiences, and Culture. New York City, New York State, United States: Bloomsbury Publishing USA. p. 849. ISBN   978-1-85109-705-0.
  65. ↑ Trillo, Richard (2016). The Rough Guide to Kenya. London, United Kingdom: Rough Guides. p. 598. ISBN   9781848369733.
  66. ↑ Stewart, Gary (May 5, 2020). Rumba on the River: A History of the Popular Music of the Two Congos. Brooklyn, New York City, New York State: Verso Books. ISBN   978-1-78960-911-0.
  67. ↑ Valdés, Vanessa K., ed. (June 2012). Let Spirit Speak!: Cultural Journeys Through the African Diaspora. Albany, New York City, New York State: State University of New York Press. pp. 40–41. ISBN   9781438442174.
  68. ↑ Hodgkinson, Will (July 8, 2010). "How African music made it big in Colombia". The Guardian. ISSN   0261-3077 . Retrieved August 23, 2023.
  69. ↑ Daoudi, Bouziane (August 29, 1998). "World. Le chanteur ex-zaïrois en concert à l'Olympia. Koffi Olomidé, Rambo de la rumba. Koffi Olomidé. Samedi à 23 heures à l'Olympia, 28, bd des Capucines, Paris IXe. Tél.: 01 47 42 25 49. Album: "Loi", Sonodisc" [World. The ex-Zairian singer in concert at the Olympia. Koffi Olomidé, Rambo of rumba. Koffi Olomide. Saturday at 11 p.m. at the Olympia, 28, bd des Capucines, Paris 9th. Tel.: 01 47 42 25 49. Album: “Law”, Sonodisc.]. Libération (in French). Paris, France. Retrieved December 29, 2023.
  70. ↑ Mbu-Mputu, Norbert X. L'AUTRE LUMUMBA. Peuple du CONGO: Histoire, résistances, assassinats et victoires sur le front de la Guerre froide (in French). Morrisville, North Carolina, United States. p. 331. ISBN   978-0-244-77422-6.
  71. ↑ Graham, Ronnie, ed. (1992). The World of African Music: Volume 1. London, England, United Kingdom: Pluto Press. p. 130. ISBN   978-0-948390-03-6.
  72. 1 2 Stewart, Gary (May 5, 2020). Rumba on the River: A History of the Popular Music of the Two Congos. Brooklyn, New York City: Verso Books. ISBN   978-1-78960-911-0.
  73. 1 2 Vogel, Christoph; Network, part of the Guardian Africa (August 23, 2013). "Say my name: How 'shout-outs' keep Congolese musicians in the money". the Guardian. Retrieved August 27, 2023.
  74. ↑ "Kanda Bongo Man dances a new dance". BBC News. September 29, 2014. Retrieved August 27, 2023.
  75. ↑ Ngaira, Amos (August 22, 2020). "Dancing styles innovator Radja Kula Mbuta takes last bow". Nation. Retrieved January 13, 2024.
  76. ↑ Mafuta, Masand (September 5, 2020). "Kinshasa: Gentiny Ngobila s'engage mordicus pour l'organisation des obsèques de Radja Kula" [Kinshasa: Gentiny Ngobila is committed to organizing the funeral of Radja Kula]. AxeNordSud Media (in French). Retrieved January 13, 2024.
  77. ↑ George, Nelson; Carr, Daphne (October 20, 2008). Best Music Writing 2008. New York City, New York State, United States: Hachette Books. p. 129. ISBN   978-0-7867-2612-7.
  78. ↑ Buettner, Elizabeth (March 24, 2016). Europe after Empire: Decolonization, Society, and Culture. Cambridge, United Kingdom: Cambridge University Press. p. 313. ISBN   978-1-316-59470-4.
  79. ↑ Makumeno, Emery (July 1, 2022). "Musique : qu'est-ce que le clan Wenge, pionnier de la danse Ndombolo ?". BBC News Afrique (in French). Retrieved November 12, 2023.
  80. ↑ George, Nelson; Carr, Daphne (October 20, 2008). Best Music Writing 2008. New York City, New York State, United States: Hachette Books. p. 129. ISBN   978-0-7867-2612-7.
  81. ↑ Buettner, Elizabeth (March 24, 2016). Europe after Empire: Decolonization, Society, and Culture. Cambridge, United Kingdom: Cambridge University Press. p. 313. ISBN   978-1-316-59470-4.
  82. ↑ Makumeno, Emery (July 1, 2022). "Musique : qu'est-ce que le clan Wenge, pionnier de la danse Ndombolo ?". BBC News Afrique (in French). Retrieved November 12, 2023.
  83. ↑ "Anger at Cameroon dance ban; BBC News", BBC News, July 25, 2000
  84. ↑ Falola, Toyin; Jean-Jacques, Daniel (December 14, 2015). Africa [3 volumes]: An Encyclopedia of Culture and Society [3 volumes]. New York City, New York State, United States: Bloomsbury Publishing USA. ISBN   979-8-216-04273-0.
  85. ↑ Trillo, Richard (2002). Kenya. London, England, United Kingdom: Rough Guides. p. 301. ISBN   978-1-85828-859-8.
  86. ↑ Nzale, Félix (February 3, 2004). "Sénégal: Ndombolo, mapuka : ces danses jugées indésirables" [Senegal: Ndombolo, mapuka: these dances considered undesirable]. Sudquotidien.sn (in French). Retrieved November 10, 2023.
  87. ↑ Mutara, Eugene (April 29, 2008). "Rwanda: Memories Through Congolese Music". Newtimes.co.rw. Retrieved May 12, 2024.
  88. ↑ Woods, Sarah (July 6, 2017). The 50 Greatest Musical Places. North Road, London, United Kingdom: Icon Books. ISBN   978-1-78578-190-2.

Bibliography

This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.