CONGOBONGO Newsletter | C'est la Musique Congolaise

American Embassy Kinshasa Newsletter December 3, 2009

Music of the Democratic Republic of the Congo Describing the music of the Democratic Republic of the Congo is difficult, due to vagaries surrounding the meanings of various terms. The country itself was formerly called Zaire and is now sometimes referred to as Congo-Kinshasa to distinguish it from the Republic of the Congo (or CongoBrazzaville). In this article, Congo will refer specifically to the Democratic Republic of the Congo unless otherwise noted.

Outside of Africa, most any music from the Congo is called soukous, which most accurately refers instead to a dance popular in the late 1960s. The term rumba or rock-rumba is also used generically to refer to Congolese music, though both words have their own difficulties and neither are very precise nor accurately descriptive. People from the Congo have no term for their own music per se, although they do use muziki na biso (our music) on occasion.

In this Edition Music of the DRC Today Congolese Music Photo Shoot CLO’s Line FLO Weekly Update From DPO From GSO The Medical Unit AERWA What’s Going On? Classifieds Calendar 21

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Since the colonial era, Kinshasa, Congo's capital, has been one of the great centers of musical innovation, ranking alongside Nairobi, Lagos, Johannesburg and Abidjan in influence. The country, however, was carved out from territories controlled by many different ethnic groups, many of which had little in common with each other. Each maintained (and continue to do so) their own folk music traditions, and there was little in the way of a pan-Congolese musical identity until the 1940s.

Like much of Africa, the Congo was dominated during the World War II era by African Rumba, a fusion of Latin and African musical styles that came from the island of Cuba.

Congolese musicians appropriated rumba and adapted its characteristics for their own musical instruments and tastes. Following World War II, record labels began appearing, including CEFA, Ngoma (record label) Ngoma, Loningisa and Opika, each issuing many 78 rpm records; Radio Congo Belge also began broadcasting during this period. Bill Alexandre, a Belgium working for CEFA, brought electric guitars to the Congo.

Popular early musicians include Feruzi, who is said to have popularized rumba during the 1930s and guitarists like Zachery Elenga, Wendo Kolosoy and, most influentially, Jean Bosco Mwenda. Alongside rumba, other imported genres like United States swing music, France cabaret and Ghanaian highlife were also popular.

In 1953, the Congolese music scene began to differentiate itself with the formation of Grand Kalle et l'African Jazz (led by Joseph Kabasele "Grand Kalle," the first full-time orchestra to record and perform, and the debut of fifteen-year-old guitarist Francois Luambo Makiadi (aka Franco). Both would go on to be some of the earliest Congolese music stars. African Jazz, which included Kabasele, sometimes called the father of modern Congolese music, as well as legendary Cameroonian saxophonist and keyboard instrument Manu Dibango, has become one of the most well-known groups in Africa, largely due to 1960's "Independence Cha-Cha-Cha," which celebrated Congo's independence and became an anthem for Africans across the continent.

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Africa, with Brazzaville's Pamela M'ounka and Tchico Thicaya moving to Abidjan and Ryco Jazz taking the Congolese sound to the French Antilles.

In Congo, students at Gombe High School became entranced with American rock and funk, especially after James Brown (musician) visited the country in 1969. Los Nickelos and Thu Zahina emerged from Gombe High, with the former moving to Brussels and the latter, though existing only briefly, becoming legendary for their energetic stage shows that included frenetic, funky drums during the seben and an often psychedelic sound. This period in the late 60s is the soukous era, though the term ''soukous'' now has a much broader meaning, and refers to all of the subsequent developments in Congolese music as well.

Big bands Into the 1950s, Kinshasa and Brazzaville became culturally linked and many musicians moved back and forth between them, most importantly including Nino Malapet and the founder of OK Jazz, Jean Serge Essous. Recording technology had evolved to allow for longer playing times, and the musicians focused on the seben, an instrumental percussion instrument break with a swift tempo that was common in rumba. Both OK Jazz and African Jazz continued performing throughout the decade until African Jazz broke up in the mid-1960s. Tabu Ley Rochereau and Dr. Nico then formed African Fiesta, which incorporated new innovations from throughout Africa as well as American and British soul, rock and roll and country music. African Fiesta, however, lasted only two years before disintegrating, and Tabu Ley formed Orchestre Afrisa International instead, but this new group was not able to rival OK Jazz in influence for very long.

Many of the most influential musicians of Congo's history emerged from one or more of these big bands, including Sam Mangwana, Ndombe Opetum, Vicky Longomba, Dizzy Madjeku and Kiamanguana Verckys. Mangwana was the most popular of these solo performers, keeping a loyal fanbase even while switching from Vox Africa and Festival des Marquisards to Afrisa, followed by OK Jazz and a return to Afrisa before setting up a West African group called the African All Stars.

Mose Fan Fan of OK Jazz also proved influential, bringing Congolese rumba to East Africa, especially Kenya, after moving there in 1974 with

Zaiko and post Zaiko Stukas and Zaiko Langa Langa were the two most influential bands to emerge from this era, with Zaiko Langa Langa being an important starting ground for musicians like Pepe Feli, Bozi Boziana, Evoloko Jocker and Papa Wemba. A smoother, mellower pop sound developed in the early 1970s, led by Bella Bella, Shama Shama and Lipua Lipua while Kiamanguana Verckys promoted a rougher garage rock-like sound that launched the careers of Pepe Kalle and Kanda Bongo Man, among others.

By the beginning of the 1990s, the Congolese popular music scene had declined terribly. Many of the most popular musicians of the classic era had lost their edge or died, and President Mobutu's regime continued to repress indigenous music, reinforcing Paris' status as a center for Congolese music. Pepe Kalle, Kanda Bongo Man and Rigo Starr were all Paris-based and were the most popular Congolese musicians. New genres like madiaba and Tshala Mwana's mutuashi achieved some popularity. Kinshasa still had popular musicians, however, including Bimi Ombale and Dindo Yogo. In 1993, many of the biggest individuals and bands in Congo's history were brought together for an event that helped to revitalize Congolese music, and also jumpstarted the careers of popular bands like Swede Swede.

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to the audience," Wemba remembers, "and I remarked to Pesho that the phrase 'Viva La Musica' sounded an excellent name for a band. I decided then that someday I would use that phrase." Wemba also attempted to inject that same feeling into his current project, Yoka Lokole, who began calling themselves the 'Fania All Stars of Zaire'.

Telling the Truth Dance and animations have also be used subversively, to make covert political gestures and statements. One of the last dance crazes to sweep Zairian music prior to the overthrow of Mobutu in the late 1990s was the 'Kbinda N'Koy', the real meaning of which was a covert prod at the then struggling Mobutuist dictatorship. The dance is said to refer discreetly to the hated and feared President's impending death through prostate cancer. Another more recent 1998 hit dance was the 'N'dombolo'. Although originating in Kinshasa, this has taken on a new meaning amongst the fragmented Congolese communities in Europe. In this interpretation, the dance has been adapted to refer to the thousands of Congolese asylum seekers granted 'leave to remain' status in their former countries of asylum - so much so that, when danced, the dancer should move their arms as if stamping passports.

When a new dance is created, it usually lasts for one to two years and can span perhaps ten to twenty 7" singles or five to ten LP record releases, both by the orchestra who created it and by their contemporaries, jumping on the bandwagon of a successful dance. To confuse matters more, orchestras tend to have more than one dance on the go at any one time.

PapaWemba Viva La Musica and Dance Papa Wemba first encountered the phrase 'Viva La Musica' in 1974 when he attended a concert featuring New York-based latinos, Fania All Stars, in Kinshasa. Fania were appearing as a part of the 'Rumble in the Jungle' fight festivities.

Accompanied by his friend, Pesho Wa Pesho, Wemba was much impressed by the band's energy and the live spectacle of their performance. "Ray

Of course, Wemba understood the importance of dance and good catchy animation and, even before the formation of Viva La Musica while still performing with Yoka Lokole, Wemba made famous the cry 'Viva La Musica' during the sebene (dance break) sections of the band's hits.

Therefore, when Wemba formed Viva La Musica and the band undertook its first live work in February 1977, his Kinois fans were already familiar with the new orchestra's name.

Now in their twenty-third year, Viva La Musica have devised many new dances and animations.

Also, as one might expect, many of Viva's dances such as the 'Nyekesse Miguel', the 'CooCoo Dindon', the 'Griff Dindon', the 'Manzoto', the 'Firenze' and the 'Mingi Mingi' - are based around Papa Wemba's and Viva's shared passion for designer clothes. Initially, Viva's dances helped Wemba develop the Sapeur movement he was then attempting to establish (see history of Wemba) and, although Wemba has often gone to extraordinary lengths denying his existence as king of 'La SAPE', Wemba and Viva have still found it hard to abandon the dance phenomenon they originally created.

Not all Viva dances are about clothes, however.

The 1987 dance 'Comme À L'École' (meaning here 'like a school') celebrates Viva's twenty-year history as a training ground for new, young talent. Another dance, 1991's 'Bouloukutu', celebrated drinking, smoking and generally having a good time. The 1996 smash dance, 'Chege', was inspired by the Congo Bongo December 3, 2009

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Rumble in the Jungle / Today Congolese Music The popular beat of Congolese music crosses all divides, military as well as social, in Congolese society Today, most Congolese are able to narrate the sagas of band break-ups, romantic scandals, dance trends and personalities of the past decades, as though they were a personal family history. Much more than any official or opposition politicians or head of state, Congo's musicians are its role models. As such, Congolese music and its stars are also acknowledged as important vehicles for social messages; for example when the government of the late Laurent Kabila launched a new currency, the Congolese franc, in 1998, Congo's most prominent musicians were hired to compose a tune singing the praises of the new currency.

List of the Contemporaneous Congolese Musicians (Link to Wikipedia)

Musical man of the hour in the DR Congo is Werrason, a grass-roots musician hugely popular in his own country as well as abroad. He’s toured across the francophone word, performed in African music festivals in South Africa as well as closer to home. He performed in several groups throughout his teens before organizing several musical acts that performed in Kinshasa throughout the 1990’s. It was his 1999 release “Solola Bien” which brought him to the attentions of the French recording label Disque D’Or. In 2001, he followed up the success of “Solola Bien” with the album “Kibuisa Mpimpa,” another great success and the beginning of a fully fledged solo career. He has joined the ranks of other francophone world music star and continues to enjoy a large following in Europe as well as Africa.

Werrason has also brought attention to the troubles of the DR Congo, and to the plight of child soldiers.

Foundation Werrason is a camp where displaced kids can go for food and shelter, as well as training in a skill such as mechanics or farming. He was also given the title Ambassadeur Universel de la Paix by the United Nations for his assistance to his country.

African Fiesta Awilo Longomba Bialu Madilu System Bimi Ombale Choc Stars Classic Swédé Swédé Defao Matumona Diblo Dibala Dindo Yogo Extra Musica Faya Tess Felix Wazekwa Franco and OK Jazz Grand Kalle and African Jazz J.B. Mpiana and Wenge BCBG Jean Bosco Mwenda Jimmy Omonga Kanda Bongo Man Kékélé King Kester Emeneya Koffi Olomide Konono No. 1 Lokassa Ya Mbongo Lokua Kanza Longué-Longué Madilu Système Makoma Mama Micheline Shabani Marie Daulne M'bilia Bel Monza Le Premier Dr Nico Kasanda Nyboma Mwan'dido Papa Wemba Pepe Kalle Les Quatre Étoiles Ray Lema Reddy Amisi Rigo Star Sam Mangwana Shiko Mawatu Soukous Stars Tabu Ley Rochereau and African Fiesta Le Thu-Zaïna Tshala Muana Viva la Musica Werrason Ngiama Makanda Wenge Musica Maison Mère Zaiko Langa Langa Congo Bongo December 3, 2009

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CD’s cover of some Congolese Musician—Source: National Geographic Music- http://worldmusic.nationalgeographic.com/view/page.basic/country/content.country/congo_drc_zaire_17

Lamellaphone (likembe) Unknown people, 19 th century, Democratic Republic of Congo

World AIDS Day World AIDS Day, observed December 1 each year, is dedicated to raising awareness of the AIDS pandemic caused by the spread of HIV infection. It is common to hold memorials to honor persons who have died from HIV/AIDS on this day. Government and health officials also observe the event, often with speeches or forums on the AIDS topics. Since 1995, the President of the United States has made an official proclamation on World AIDS Day. Governments of other nations have followed suit and issued similar announcements.

AIDS has killed more than 25 million people between 1981 and 2007, and an estimated 33.2 million people worldwide live with HIV as of 2007, making it one of the most destructive epidemics in recorded history. Despite recent, improved access to antiretroviral treatment and care in many regions of the world, the AIDS epidemic claimed an estimated 2 million lives in 2007, of which about 270,000 were

History World AIDS Day was first conceived in August 1987 by James W. Bunn and Thomas Netter, two public information officers for the Global Programme on AIDS at the World Health Organization in Geneva, Switzerland. Bunn and Netter took their idea to Dr. Jonathan Mann, Director of the Global Programme on AIDS (now known as UNAIDS). Dr. Mann liked the concept, approved it, and agreed with the recommendation that the first observance of World AIDS Day should be 1 December, 1988.

Bunn suggested the date of December 1st to ensure coverage by western news media, something he believed was vital to the success of World AIDS Day. He felt that because 1988 was an election year in the U.S. media outlets would be weary of their post-election coverage and eager to find a fresh story to cover. Bunn and Netter felt that December 1 was long enough after the election and soon enough before the Christmas holidays that it was, in effect, a dead spot in the news calendar and thus perfect timing for World AIDS Day. (Bunn, originally a reporter covering the epidemic for KPIX-TV in San Francisco, along with producer Nancy Saslow, also conceived and initiated “AIDS Lifeline” – a public awareness and

education campaign that was syndicated to television stations in the U.S. "AIDS Lifeline" was honored with a Peabody Award, a local Emmy, and the first National Emmy ever awarded to a local station in the U.S. On 18 June, 1986 the “AIDS Lifeline” project was honored with a Presidential Citation for Private Sector Initiatives, presented by President Ronald Reagan. Bunn was then asked by Dr. Mann, on behalf of the U.S. government, to take a two-year leave-of-absence from his reporting duties to join Dr. Mann (an epidemiologist for the Centers for Disease Control) and assist in the creation of the Global Programme on AIDS. Mr. Bunn accepted and was named the first Public Information Officer for the Global Programme on AIDS. Along with Mr. Netter he created, designed, and implemented the inaugural World AIDS Day observance – now the longest-running disease awareness and prevention initiative of its kind in the history of public health.)

The Joint United Nations Programme on HIV/ AIDS (UNAIDS) became operational in 1996, and it took over the planning and promotion of World AIDS Day. Rather than focus on a single day, UNAIDS created the World AIDS Campaign in 1997 to focus on year-round communications, prevention and education.

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In its first two years, the theme of World AIDS Day focused on children and young people. These themes were strongly criticized at the time for ignoring the fact that people of all ages may become infected with HIV and suffer from AIDS. But the themes drew attention to the HIV/AIDS epidemic, helped alleviate some of the stigma surrounding the disease, and helped boost recognition of the problem as a family disease.

In 2004, the World AIDS Campaign became an independent organization.

Choosing the theme From its inception until 2004, UNAIDS spearheaded the World AIDS Day campaign, choosing annual themes in consultation with other global health organizations.

As of 2008, each year's World AIDS Day theme is chosen by the World AIDS Campaign's Global Steering Committee after extensive consultation with people, organizations and government agencies involved in the prevention and treatment of HIV/AIDS. For each World AIDS Day from 2005 through 2010, the theme will be "Stop AIDS. Keep the Promise.", with a yearly sub-theme. This overarching theme is designed to encourage political leaders to keep their commitment to achieve universal access to HIV/AIDS prevention, treatment, care, and support by the year 2010.

Red Ribbon hanging in the North Portico of the White House in Observation of World AIDS Day. 1 December 2007 Eric Draper http://www.whitehouse.gov/news/ releases/2007/11/images/20071130_ d-0117-6-772v.html

This theme is not specific to World AIDS Day, but is used year-round in WAC's efforts to highlight HIV/ AIDS awareness within the context of other major global events including the G8 Summit. World AIDS Campaign also conducts "in-country" campaigns throughout the world, like the Student Stop AIDS Campaign, an infection-awareness campaign targeting young people throughout the UK. 1988

Communication

1989

Youth

1990

Woman and AIDS

1991

Sharing the Challenge

1992

Community Commitment

1993

Act

1994

AIDS and the Family

1995

Shared Rights, Shared Responsibilities

1996

One World. One Hope

1997

Children Living in a World with AIDS

1998

Force for Change: World AIDS Campaign With Young People

1999

Listen, Learn, Live: World AIDS Campaign with Children & Young People

2000

AIDS: Men Make a Difference

2001

I care. Do you?

2002

Stigma and Discrimination

2003

Stigma and Discrimination

2004

Women, Girls, HIV and AIDS

2005

Stop AIDS. Keep the Promise

2006

Stop AIDS. Keep the Promise - Accountability

2007

Stop AIDS. Keep the Promise - Leadership

2008

Stop AIDS. Keep the Promise - Lead - Empower - Deliver

2009

Universal Access and Human Rights

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Two chicken restaurants, Kinshasa-style and Joburg-style Mama Colonel’s It’s in the neighborhood of Mbandal. It has moved a couple blocks over from its original location and has been repainted recently to resemble the former location.

The walls are earthy tones and are hung with local artwork. They serve herbed chicken butterflied and grilled, along with choices of banana plantains and French fries. They also serve fish and may have beans or greens as accompaniments, but usually chicken and frites is the demand! It’s basic, but a good place to share a meal with friends or people new to town, especially if you have time to wait for your order to be served. They have started offering forks and knives, but this is essentially finger food. Sometimes there is a small group of musicians that play guitar and sing and appreciate tips. For an amusing ballad in French, request La femme de mon patron… (Also, there is a club on the 2nd floor but we haven’t looked into it yet.) Including soft drinks/beer and 2-3 people per chicken, the bill is usually around $12-15 per person. To get there, take Ave 24 Novembre from the Blvd 30 Juin.

Follow it straight for 6-8km. When you reach the large round point (Place du 17 Mai), follow it around but continue straight across. Take your first major right turn (you’ll see other cars turning here). The neighborhood is a bit crowded and it’s difficult to see at night, but you will take your 2 nd left. The road is slightly larger and better lit than the other tiny offshoots. Mama Colonel’s is about 1 block down on the right. There is a small sign on the street, but the door is not clear, so ask someone to point it out if you can’t find it. There is an outdated map from Artisanat et Développement, a place that readers may want to check out for local gifts. http://www.artisandevelop.com/mappeAD.htm Mama Colonel’s has moved and on this map is on the corner of Baluba and the 2 nd left off Kimbondo. (Just remember, if you ask directions, say “ko-lo-nell,” not “ker-null…”)

Nando’s Is originally a South African creation, and now has a branch near Kintambo Magasin. You can get take-out chicken, sandwiches, and meals, or you can dine in. Their chicken comes in four levels of herbed to spiced, but don’t worry, if it’s not spicy enough, they provide extra sauce in all four varieties. Their chicken did not seem quite as plump as Mama Colonel’s, but it was quite delicious. Their menu has different meal options to add salad, bread, or drinks to the main attraction. They have an order-out counter or will seat you and serve you at a booth in the restaurant area, which is spacious and clean and decorated in a modern red and black color scheme. Depending on your options and your appetite, you might spend $10-15 per person. To get there, take the Blvd 30 juin away from the Embassy and downtown.

Pass CALI on your right and continue past the Chanimetal elephant statue on your left. As you approach the large busy intersection of Kintambo Magasin, look for the lit-up Nando’s sign on your right. Take a right into the parking area next to the building. From the parking area, you will have to walk through what looks like a newly built mall (a mall in Kinshasa!) featuring formal wear and baby wear boutiques, and wind your way up to the third floor.

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