Congolese rumba - Knowledge

233: 2641: 1496: 1207:, the principal port of entry. During this period, it was customary for African sailors to procure records during their travels abroad, either as gifts or for sale to friends or acquaintances. Such transactions often occurred through itinerant vendors at or near the port upon the arrival of overseas vessels. Following the advent of radio technology in the region, demand for pre-recorded music surged, prompting local merchants to recognize records as a lucrative enterprise. A Belgian radio enthusiast and entrepreneur named Hourdebise, who inaugurated the first commercial radio station in the Belgian Congo in 1939, regularly broadcast records from the G.V. series. He also allocated air time to local artists and was credited with discovering the singer-songwriter 2567: 1219: 2283: 1704:. The advent of Surboum African Jazz enabled Le Grand Kallé to produce several other orchestras, including OK Jazz in 1961. During his trip to Brussels on behalf of Surboum African Jazz, OK Jazz recorded a series of hits for Le Grand Kallé: "Amida Muziki Ya OK", "Nabanzi Zozo", "Maria De Mi Vida", "Motema Ya Fafa", and others. The revenue generated from the sale of these records allowed OK Jazz to acquire brand-new musical equipment. Consequently, numerous music publishing houses, managed either by musicians or private individuals, proliferated in the early 1960s, including Epanza Makita, Editions Populaires, Eve, La Musette, ISA, Vita, Londende, Macquis, Parions, Mamaky, Boboto, Super Contact, and many more. 1573: 1283:

infused the music with local rhythms and melodies, progressively bestowing it with local nuances. Although maringa dance music bore no significant relation to Cuban rumba, it became known as "Congolese rumba" due to the frequent mislabeling of imported records by Sexteto Habanero and Trio Matamoros as "rumba". Various artists and groups emerged on the Congolese music scene, with Paul Kamba, Zacharie Elenga, and Antoine Wendo Kolosoy credited as pioneers. Elenga revolutionized the Congolese rumba rhythm by introducing guitar solos into the musical lineup and instituting a musical training that included a rhythm guitar, a lead guitar, a double bass, a saxophone, and percussion instruments.

2602: 2000: 895: 1318: 1330: 1017: 2261: 2509:, co-founded with Papy Tex, rose to prominence across Africa with their stripped-down, baritone, and high-octane renditions of Luambo and Rochereau's music, earning Pépé Kallé nicknames such as "La Bombe Atomique" (borrowed from Empire Bakuba's self-titled album) and "the Elephant of Zaire", due to his impressive size and performance style. His music often featured intricate guitar work and vibrant rhythms, hallmarks of soukous, aiding in the genre's popularization on both continental and international stages. Nevertheless, Kallé further distinguished himself with his use of 1424: 2351: 2412:, and production values could feed into the sound. Consequently, soukous garnered an eclectic international following, with Zairean performers in Paris and London navigating the demands of European, African, and Caribbean markets. Artists like Papa Wemba profited from an international following that praised his musical compositions. With the growing international popularity of soukous in the 1980s, lyrics began to deal with a broader range of topics not limited to life in the DRC and the Republic of the Congo. In 1985, Luambo and OK Jazz, now rebranded as 2528: 2401:'s music became an integral component of Mobutu's political propaganda. Luambo composed a Congolese rumba breakout song titled "Candidat Na Biso Mobutu" ("our candidate Mobutu") in support of Mobutu's contrived presidential re-election campaign (where Mobutu was the sole candidate) in 1984. The song exhorted Zairean citizens to "Shout loud like thunder/For the Marshal's candidacy/Mobutu Sese Seko", while warning the central committee to "beware of sorcerers"—a euphemism for those opposing the dictator. The record earned Luambo a 1492:, Léon Bukasa, Manuel D'Oliveira, and Georges Edouard, who formed the ensemble San Salvador. The Ngoma studio thrived as wartime memories receded and the late 1940s heralded a promising new decade. Brazzaville's populace nearly doubled from approximately 45,000 in 1940 to around 84,000 by 1950, while Léopoldville's population surged from 50,000 to over 200,000 in the same period. The twin capitals, invigorated by new immigrants with employment and disposable income, bristled with opportunities for the entertainment industry. 2460: 2610:

Nathalie and Emma Louise laid the groundwork for the emergence of female artists in Kinshasa and Brazzaville. Despite remaining largely anonymous due to limited documentation, they are regarded as prominent figures in the Congolese music scene. In the 1940s, artists such as Gabrielle Maleka and Anne Mbassou made significant contributions to the evolving sound of Congolese rumba as part of Paul Kamba's Victoria Brazza ensemble. By the 1950s, women singers emerged as powerful voices with momentous messages about

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encompassed over 200 titles, featuring military bands, missionary choirs, and an array of records for learning Lingala. Janssens also recorded some of the most influential first-generation musicians in Léopoldville, including Wendo's Victoria Kin, Orchestre Odéon Kinois, and Camille Feruzi, which facilitated the emergence of local and foreign-owned record companies pivotal to the genre's development. The Greek entrepreneur Nico Jeronimidis converted a small storage structure behind his shop into a studio,

1738: 2144: 1561:. Together, they recorded hit songs like "Henriette" and "Ondruwe", which had widespread commercial success in the Congo and across the broader region. British journalist and researcher Andy Morgan described Elenga's music as "wild and combustible", noting that he "became a youth hero, a musical revolutionary who helped to define a blueprint for Congolese rumba that still applies". Opika was also the first label to sign Joseph Athanase Tshamala Kabasele, popularly known as 764: 616: 2630: 1346:, Antoine Kasongo and his ensemble, supported by the vocal contributions of Ninin Jeanne and Mpia Caroline, released a series of songs, including "Libala Liboso Se Sukali", "Baloba Balemba", "Naboyaki Kobina", "Se Na Mboka", "Sebene", and "Nzungu Ya Sika". Their success coincided with the rapid urbanization of Léopoldville, where dancing bars became hubs of social activity and provided a platform for musicians to showcase their talent and connect with audiences. 1137:. The ensemble bolstered the prominence of local artists such as Pierre Mara, Georges Ondaye, Jean-Marie Okoko, Philippe Ngaba, Pierre Kanza, Casimir Bounda, Jean Dongou, Augustin Thony, André Tsimba, Pierre Loemba, Barète Mody, Pascal Kakou, Félix Maleka, and Botokoua. Melo-Congo enjoyed tremendous success, performing in Poto-Poto at the dance bar PICKUP, then at dance halls like Chez Faignond, Macumba, Beauté Brazza, Chez Ngambali, Mon Pays, and Léopoldville. 1747: 1101:, under the leadership of François Bamanabio, who, alongside Massamba Lébel, later founded the Jazz Bohème orchestra. However, Réal's arrangements and inclusion of contemporary instruments to local musicians later that year conferred substantial advantages on Brazzaville's native artists, including Alphonse Samba, Michel Kouka, Georges Nganga, Côme Batoukama (guitar), Vital Kinzonzi (accordion), Emmanuel Dadet (saxophone, guitar, and more), and Albert Loboko ( 2342: 1588:, such as Ngoma, Opika, and CEFA, began producing a similar style of Congolese rumba reminiscent of the hit "Marie-Louise". This style, often characterized by a slower tempo and minimal distinctions between orchestras, included works like Antoine Moundanda's "Paul Kamba Atiki Biso" (1950) and "Mabele Ya Paulo" (1953), released under Ngoma. Ngoma also released Antoine Moundanda's 1953 smash hit "Mwana Aboyi Mama", a lament infused with 1361:. Women's associations like L'Harmonie Kinoise and L'Odéon Kinois, sponsored by bars and music labels, provided platforms for women to express themselves freely and assert their autonomy in a male-dominated society. Led by trailblazers like Victorine Ndjoli Elongo, these associations empowered women to challenge traditional roles and expectations, paving the way for greater gender equality and social change. 1805: 1211:. Hourdebise's Radio Congoliya featured local and international news in four African languages and was the first to install loudspeakers for direct broadcasting in the African quarters of the city. Radio Congoliya's popularity spurred local merchants' interest in record sales, with major retailers in the capital, such as SEDEC Montre and Olivant, beginning to import records alongside more costly items like 1406:

accustomed to prolonged play without interruption, faced constraints as the recorder's cutter head reached the disc's center within three minutes. Smaller, contemporary groups, whose compositions were more adaptable to the medium's limitations, proved more suitable. The three-minute format necessitated tighter structural discipline, aligning with the "European-style, workaday world of the city".

2614:, protection, and ordinary struggles, and successes. Martha Badibala, Tekele Mokango, Anne Ako, Ester Sudila, Léonine Mbongo, Joséphine Sambeya, Jeanne Ninin, and Caroline Mpia became influential in sculpting the genre during this transformative epoch. Marie Kitoto became prominent through her exuberant and mellifluous vocalism in chart-toppers like "Mbokamosika". Meanwhile, 2061:. In July–August 1969, Les Bantous de la Capitale and the Bamboula Orchestra were among the musicians participating in the Premier Festival Culturel Panafricain d'Alger, a celebration of African identity and culture to facilitate interaction between liberation movements and promoting the newly independent Algeria as a continental leader. 2925:, in the 1980s. In one of their early compositions featuring these animators, the repeated chant "Atalaku! Tala! Atalaku mama, Zekete" (Look at me! Look! Look at me, mama! Zekete!) echoed, commanding attention. As coupé-décalé emerged, the Congolese rumba influence remained conspicuous. Notably, with the release of "Sagacité", 3213:, to the extent that their local languages were seemingly overshadowed. The popularity of rumba in East Africa, particularly in Kenya, coupled with the evolution of musical tastes, became a musical touchstone for older audiences, with resident bands in entertainment spots consistently including rumba in their repertoire. 5256: 2051:

in Dakar, Senegal. By 1967, African Fiesta Sukisa had assembled a powerhouse of vocalists and instrumentalists, but what set them apart were the three guitarists—Nico, his brother Dechaud, and De La France—who had become a defining characteristic of Congolese rumba. Les Bantous featured Gerry Gérard,

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with recording equipment, intending to produce records to be mastered and pressed by his Belgium-based enterprise SOBEDI. A considerable number of recordings was issued under Janssens' Olympia label (and its local Congolese subsidiaries Kongo Bina and Lomeka), and by 1948, the Olympia African catalog

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While Congolese rumba exerted influence on bands such as African Jazz and OK Jazz, younger Congolese artists sought to attenuate this influence and embrace a faster-paced soukous style. Soukous contributed to the development of Congolese rumba by infusing social and political themes into its lyrics.

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term for "drum". Initially, the studio endeavored to record traditional music, but the logistical and financial burdens of transporting and compensating large troupes proved prohibitive, and the new recording technology was ill-suited to traditional music's extensive performances. Traditional bands,

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and Brazzos as well as several of its successors. Rochereau enlisted Jean Paul "Guvano" Vangu, Faugus Izeidi, and Johnny Bokasa in his Fiesta, and Dewayon worked with Ray Braynck and Henri Bowole in Cobantou. This practice gave rise to the term "mi-solo", to designate the third guitar, which played

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per recorded composition. Wendo's chart-topping hit "Marie-Louise", co-written with guitarist Henri Bowane and produced by Ngoma, achieved significant success, selling over two million copies. A few months after its debut, a pervasive rumor circulated across the Belgian Congo, positing that Wendo's

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and was played at various events, festivities, and gatherings, especially when Congolese artists were present, due to its popularity among subsequent generations. According to Belgian researcher Matthias De Groof, "Indépendance Cha Cha" still stands today as a "symbol of the Congolese independence

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Congolese rumba is a musical genre and a dance used in formal and informal spaces for celebration and mourning. It is primarily an urban practice danced by a male-female couple. Performed by professional and amateur artists, the practice is passed down to younger generations through neighbourhood

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in Léopoldville, quickly gaining nationwide popularity. Congolese musicians began to transpose aspects of Cuban son, including piano sounds, drum patterns, and trumpet phrasing, to electric guitars and saxophones. They occasionally performed in phonetic Spanish or French. Gradually, however, they

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In August 1941, Paul Kamba formed the Victoria Brazza ensemble in Poto-Poto, accompanied by Henri Pali Baudoin, Jacques Elenga Eboma, Jean Oddet Ekwaka, François Likundu, Moïse Dinga, Philippe Moukouami, Paul Monguele, François Lokwa, Paul Wonga, Joseph Bakalé, and Auguste Boukaka. The ensemble's

579:. By the mid-to-late 1950s, the instrumentation diversified further with "orchestres", or big bands, becoming the standard and incorporating upright basses, trumpets, saxophones, and more elaborate percussion setups. The contemporary Congolese rumba instrumental makeup primarily includes guitars, 2800:

by Congo's l'Orchestre Veve, which gained popularity when played by DJ Victor Conde. Record labels proactively dispatched producers to find African records that would resonate with DJs and audiences. The music gained traction, especially in economically underprivileged urban areas, predominantly

1872:, introducing a third school of Congolese rumba, characterized by an unconventional structure, abrupt movements, and elements described as "jerky and complex in basic contributions". The group was most influential in the 1970s, popularizing distinctive features such as variations in drum tempo, 471:

The style has gained widespread popularity in Africa, reaching countries like Tanzania, Kenya, Uganda, Rwanda, Zimbabwe, Madagascar, Zambia, Ivory Coast, Gambia, Nigeria, Ghana, South Sudan, Senegal, Burundi, Malawi, and Namibia. Additionally, it has found a following in Europe, particularly in

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While the genre's influence reverberated throughout Africa, the spectacle of female artists taking the stage and expressing their melodic abilities was a rarity, as song composition and performance were predominantly the domain of male artists. In the 1930s, up-and-coming female vocalists like

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By the late 1970s, a wave of Zairean musicians began to make their way to Paris. Some went for short recording stays, while others made it a permanent base. Péla Nsimba, a guitarist and singer who had garnered acclaim in Zaire during the late 1960s and early 1970s with his ensemble Thu Zahina,

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These record labels also provided the Belgian Congo a substantial platform for the proliferation and cultivation of homegrown bands, such as African Jazz, OK Jazz, Conga Jazz, and Negro Band. Although the band names frequently included the word "jazz", Martin notes that "the essential musical

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began competing for markets across the continent. However, economic adversity, the limited size of local markets, and the war effort constrained the development of local commercial recording until the 1940s. Records from the G.V. series were thus instrumental in the budding African recording

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between the solo (lead) guitar and the (rhythm) accompaniment. Subsequently, Rochereau and Roger Izeidi departed from the band to establish African Fiesta National. Others, such as Mujos and Depuissant, left to join different musical collectives; they were later joined by Papa Wemba and

2683:, released in 1975, with hits such as "Likayabo", "Yamba Yamba", "Kiliki Bamba", "Naliku Penda", and "Ngoyaye Bella Bellow", elevated her popularity, especially in West Africa. Her band, Les Redoutables, served as a launching pad for numerous female and male musicians, including 2042:

in 1963. Kasanda's faction, including Charles Déchaud Mwamba, went on to create a new ensemble called African Fiesta Sukisa. Paradoxically, despite these schisms, many musicians continued to release records that dominated discos, bars, and clubs across Africa. In April 1966,

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on the soukous-inspired track "Malembe". The far-reaching impact of "Congolization" transcends hip hop, permeating other genres like French R&B and religious music, all while concurrently gaining traction across Europe and francophone Africa. Prominent artists include

3153:, with its extensive broadcasting reach in East, Central, and West Africa, Congolese rumba garnered an extensive audience, evolving into a central focus for East African artists to observe and emulate. According to ethnomusicology professor Alex Perullo of 2882:

danced to the song "Icha" by the Congolese artist Syran Mbenza, accompanied by several dancers. The track is colloquially known as "El Sebastián" in Colombia. Shakira's performance inspired the #ChampetaChallenge on various social media platforms.

1612:. The Bana Loningisa (children of Loningisa), as the Loningisa session players were dubbed, performed regularly at a local venue called the OK Bar, named after its owner, Oscar Kashama. In early 1956, the Bana Loningisa rebranded themselves as 1112:

Dadet and Antoine Kasongo pioneered the contemporary rendition of Congolese folk music by incorporating new influences into their songs. Dadet, proficient on the saxophone, clarinet, and guitar, devised a musical style characterized by "free

1480:. This established Léopoldville as a hub of Congolese rumba "musical leadership", buoyed by the advent of the recording industry and studios operated by priests and production units affiliated with Greek traders, alongside the advent of new 854:

from Nigeria became dominant. The musical traditions, dance forms, and spiritual practices were covertly preserved across generations within regions characterized by significant populations of enslaved Africans. Musical instruments like the

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sound. Melodic interest usually centers on a single part, supported by subordinate accompaniment, while the rhythmic texture is dense and varied across instruments. Horns often punctuate rather than carry the melodic line, except when "used

7088: 2178:. Despite concerns about how the French audience would receive their music, the concert was a success and significantly boosted Rochereau's international career. The performance spurred the venue to book other Zairean musicians, including 1300:

The Odéon Kinois Orchestra, led by Antoine Kasongo, played a pivotal role in the development of modern Congolese rumba at the end of the 1940s, particularly in pioneering the sébène instrumental section, which was performed by guitarist

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In 1934, Jean Réal, a French entertainment director from Martinique, coined the term "Congo Rumba" when he founded an ensemble by that name in Brazzaville in 1938. Clément Ossinondé, a Congolese musicologist specializing in

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and a schoolmate of Paul Kamba. Accompanied by musicians Raymond Nguema, Joseph Botokoua, and Bernardin Yoka, Bonne Espérance performed their music at venues such as Chez Mamadou Moro and the Cercle Culturel Catholique de

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By the mid-1950s, a schism emerged between musicians receptive to foreign influences and those rooted in traditional Congolese rumba. This divergence led to the formation of two schools of modern Congolese rumba: the

1801:" made them one of Africa's most prominent bands, with its "loopy-riffing guitars, peculiar drum and bass grooves that lock in while twisting the beat, and horn parts that tell little melodic stories of their own." 1097:, where he served as an accountant at Congo–Ocean Railway, Kamba introduced a "new musical language" incorporating string and keyboard instruments. In early 1937, the musical ensemble Mannequin was established in 1072:, some scholars even trace sebene's origins further back to transitional genres in Brazzaville, such as the kebo. Stewart expounds that the segment where most dancing transpired was designated as the sebene. One 2844:. Local artists such as Viviano Torres, Luis Towers, and Charles King, all from Palenque de San Basilio, started composing their own songs and producing unique musical arrangements, while still maintaining the 1688:, became the first Congolese musician to establish his own music label, under the name Surboum African Jazz, with financial backing from Léopoldville-based Congolese distribution and publishing company ECODIS ( 1008:, notes that among the Congolese musicians affiliated with Congo Rumba, Gabriel Kakou and Georges Mozebo were prominent figures instrumental in popularizing the genre and mentoring emerging local musicians. 3714: 9336: 1683:

The abrogation of all exclusivity contracts—a significant triumph—paved the way for Congolese entrepreneurs to establish their own record companies. Joseph Athanase Tshamala Kabasele, commonly known as

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traditional dance characterized by pronounced hip rotations. Her 1988 single "Karibu Yangu" gained traction across East Africa, fostering the introduction of new female artists such as Faya Tess and

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suggest that these Congolese "jazz" ensembles exhibited minimal musical affinity with American jazz, interpreting the appropriation as "identification with another culturally vibrant yet politically

1592:, guitar, flute, clarinet, and bass, which achieved unprecedented success, becoming the first Congolese rumba song to be awarded the Osborn Award by the Journal of the African Music Society in then- 984:

dance music, particularly the rumba, after it had been featured and made respectable at the 1932 Chicago World Fair. However, both the White elite and African aristocracy predominantly embraced the

5438: 2703:. Her critically acclaimed hits "Ofini A Tsenguè" and "Itouyi Kambi", recorded across Africa and China, garnered substantial popularity. She was a participant in the 1977 second edition of the 1608:, was married to Marie Kitoko, a Congolese singer. One of Loningisa's early protégés was a "young, handsome, sharply dressed street kid" named François Luambo Luanzo Makiadi, better known as 6761: 4650: 2586:

clubs, formal training schools and community organisations. The rumba is considered an integral part of Congolese identity and a means of promoting intergenerational cohesion and solidarity.

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across Africa in the early 1990s, coupled with the subsequent development and expansion of the internet across the continent in the subsequent decades, French hip hop flourished within the

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and African Jazz. Despite her popularity, Lucie Eyenga was not primarily recognized as a vocalist but as the hostess of female recreational associations, occasionally performing in bars.

1445:, who introduced Wendo to the studio and recorded several songs. Musicians under contract reportedly received a monthly stipend for exclusive services plus three to four hundred Belgian 1680:

and foreign essence ensured that Congolese rumba did not align exclusively with "any particular tradition, region, or grouping" and allowed "Congolese rumba a broad and shared appeal".

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of God", which earned him imprisonment but also garnered immense national recognition. Jeronimidis and Wendo embarked on an extensive tour across the country, traveling in a blue Ngoma

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The sébène instrumental section of a Congolese rumba song typically comprises three guitars. From top: the solo (lead) guitar, mi-solo (third) guitar, and accompaniment (rhythm) guitar.

3022:. Nearly all their thematic elements revolve around a reconnection with their roots, evident through samples sourced directly from Congolese rumba and soukous. In the early 2000s, the 6734: 4824:[The first two major brass bands of Brazzaville and Kinshasa in 1940: Le Melo Congo of Emmanuel Damongo Dadet (Brazzaville) and L'Odéon Kinois of Antoine Kasongo (Kinshasa)]. 1203:

industry, becoming some of the most widely circulated records of the 1930s. Most records listened to in Léopoldville were manufactured in Europe and imported to the Belgian Congo via

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in France and various other European nations. Initially molded by American hip hop, the French variant has since developed a distinct identity and sound, drawing influences from the

1624:. Under Luambo's leadership, OK Jazz evolved into a musical academy of sorts, a finishing school for talent that counted among its alumni many of the great names in Congolese music: 1372:

in their hit "Marie-Louise" in 1948. He also accompanied the singer Marie Kitoto on "Ya Biso Sé Malembé" and "Yokolo". Sébène burgeoned in popularity during the ensuing decade, with

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between 1930 and 1934, catalyzed the evolution of Congolese rumba in Brazzaville. Emmanuel Okamba, a Congolese musicologist, posits that these West African laborers introduced the

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by infusing it with the new "rumba" rhythm while retaining its original name. Martin also observes that White society in Brazzaville, much like elsewhere, developed an interest in

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France, Belgium, Germany, and the UK, as well as the US, as a result of touring by Congolese musicians, who have performed at various festivals internationally. Musicians such as

2949:'s influence on his artistic approach. The term has transcended its origins, becoming embedded in the lexicon of Ivory Coast and neighboring countries, though it now signifies " 1384:

According to Gary Stewart, commercial recording of local artists in Léopoldville commenced with the Belgian entrepreneur Fernand Janssens, who arrived in the Belgian Congo post-

756:, characterized by rapid guitar articulations and an accelerated tempo. During the sébène, musicians showcase their skills, and dancers experiment with new steps. Musicians and 1653: 1541:, was another pioneering record label in the Belgian Congo. It played a critical role in recording and promoting Congolese rumba as well as music from other countries such as 1793:. Meanwhile, the African Jazz School introduced "rumba-rock", which had a faster tempo, with jazz and Afro-Cuban "accents in the arrangements". African Jazz also introduced 1178:

in 1933. The G.V. series, intended for export—particularly to Africa—presumably catered to diverse audiences over time as it evolved. The global recording industry reached

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label and studio. Both brothers were fluent in Lingala and enjoyed widespread popularity among the Congolese populace. Basile, known for singing in the shop where he sold

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with accordions and acoustic guitars. By the 1950s, bands expanded significantly. For instance, Manuel D'Oliveira and Les San Salvador (1952) utilized three guitars, a

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emerged as the fourth school in the late 1980s and 1990s, with their rapid hip movements and body swaying, occasionally accompanied by abrupt gestures. Playing mainly

2796:. In the mid-1970s, a group of sailors introduced records from the Democratic Republic of the Congo and Nigeria to Colombia, including a plate-numbered 45 RPM titled 2257:, Americans and other Westerners witnessed and celebrated the musical performances and genres of Congolese and other African artists that thrilled local populations. 2065:

Meanwhile, soukous bands like Zaïko Langa Langa introduced distinct elements into the genre, including variances in percussive tempo, utilization of snare drums, the

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Champeta's sound is intimately intertwined with Congolese rumba, particularly the soukous style, sharing the same rhythmic foundation. The guitar and the use of the

937:, covering areas in the present-day Republic of the Congo, southern Gabon, and Cabinda Province of Angola. The dance involved a small skin-covered frame drum called 7972: 7665: 8350: 9092:

The Concise Garland Encyclopedia of World Music: Africa; South America, Mexico, Central America, and the Caribbean; The United States and Canada; Europe; Oceania

2182:, on 19 February 1973, which significantly elevated her status back in Zaire. Consequently, Congolese rumba and its offshoot soukous garnered acclaim across the 7886: 232: 10874: 7036: 6127: 4821: 4498: 4542: 417:, an urban dance music style that emanated from Congolese rumba, imbuing it with lively rhythms, intricate high-pitched guitar melodies, and large brass and 5915: 4731: 4822:"Les deux premiers grands orchestres de cuivres de Brazzaville et de Kinshasa en 1940 : Le Melo Congo d'Emmanuel Damongo Dadet (Brazzaville) et (...)" 4569: 3776: 1585: 1109:

bands subsequently emerged in Brazzaville, including the Fanfare Militaire, the Fanfare de la Milice, the Fanfare Catholique, and the Fanfare Municipale.

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create intricate intertwining lines", with "mi-solo" being a "bridge between the ecstatically high-pitched lead guitar and the low-pitched rhythm guitar".

7467: 7440: 4794: 1696:), and the Belgian record company FONIOR, based in Brussels. The label's inauguration took place in Brussels during Le Grand Kallé's participation in the 752:

ornamentations. A paradigmatic Congolese rumba song usually begins with a slow section featuring vocals, followed by an instrumental interlude called the

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instilled weariness among artists toward the constraints of Kinshasa's public sphere, compelling them to seek alternative audiences. In December 1970,

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on Congolese independence. Le Grand Kallé capitalized on his stay in Brussels to record several pieces with the accompaniment of Cameroonian musician

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the apparition of a "missing beauty". This sudden surge of fame sparked concern among colonial authorities, who were grappling with the resurgence of

5285: 1117:", inspired by jazz soloists. His ensemble, Melo-Congo, garnered acclaim among the White elite, performing a diverse repertoire ranging from classic 1056:. Some musicologists assert that these immigrant laborers played a seminal role in pioneering the instrumental component of Congolese rumba known as 6925: 10157: 8821: 6078: 1512: 7636: 4758: 2695:. Another prominent female artist of this era was Marie Bélè, alias "Marie Bella", who infused Congolese rumba with interpretations of her ethnic 1648:

inspiration came from African and Latin American roots". The name was used because young men were bedazzled by the American soldiers, especially

1060:, albeit this contention is often debated, with other musicologists accrediting Antoine Kasongo's Odéon Kinois Orchestra, Antoine Wendo Kolosoy, 6260: 2990:, a collective of French rappers from the Republic of the Congo, pioneered the infusion of Congolese rumba rhythms into French rap. Their album 2291:

arrived in 1977. The emergence of specialized record stores catering to African music burgeoned in the mid-1970s, exemplified by Afric Music in

6453: 6399: 5916:"Faugus Izeidi : "j'ai créé la guitare mi-solo dans la musique congolaise et le rythme Soum Djoum de l'Afriza International de Tabu Ley"" 6675: 1084:

The vocal ensemble Bonne Espérance emerged in 1935, conceived by the organist Albert Loboko, known as "Nyoka", a Congolese footballer born in

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during this epoch. Notably, Joséphine M'boualé, alias Joséphine Bijou, emerged as the first Congolese rumba female guitarist to perform in

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The Congolese rumba is characterized by a slow-to-moderate tempo and syncopated arrangement of drums and percussion, typically following a

9762: 6313: 7889:[Congo – The Bantus of the capital, Continuation of the chronological summary of the 60 years – (Years 1980–1989) – Chapter IV]. 5684:[The genesis of musical production, copyright, and the union of artists-musicians in Léopoldville (Kinshasa) from 1947 to 2019]. 4623: 1990:

and Congolese rumba music." Notably, the song was included in the "100 Greatest African Songs of All Time" by the Kenyan weekly magazine

699:: between singer and chorus, singer and instrument, and between different instrumental sections. This interplay, combined with a mix of 9730: 7859: 5942: 2640: 8244: 6480: 4218: 3209:, interspersed with Swahili. Meanwhile, other homegrown artists heavily leaned towards the Congolese rumba style, singing entirely in 2655:

singer Marcelle Ebibi, for instance, introduced electric guitar rhythms to the genre with her opus "Mama é", chaperoned by her fiancé

9673: 9477: 8876: 5682:"La genèse de la production musicale, des droits d'auteur, du syndicat d'artistes-musiciens à Léopoldville (Kinshasa) de 1947 à 2019" 4028: 3201:, who fused Congolese rumba rhythms with East African linguistic and cultural elements. Kenyan local bands, such as TP Luna Kidi and 2571: 1488:

to make their debut record at Ngoma. Jeronimidis also signed Camille Feruzi and several singer-guitarists, including Manoka De Saio,

336: 222: 9010: 8547: 6372: 1523:). Alexandre is credited with introducing the electric guitar to the Belgian Congo. Local musicians were enthralled by his gleaming 10241: 9848: 9063: 6144: 3750: 2651:

Throughout the metamorphosing musical terrain, women persistently occupied crucial positions in various studios and record labels.

9279: 7386: 7359: 3227: 8707: 8517: 7178: 7124: 1831:

patterns and fingerpicking techniques. American music journalist Morgan Greenstreet noted that former African Jazz School member

7413: 6645: 4543:"Congo-Brazzaville – Guy Léon Fylla : Le souvenir d'une grande légende de la musique congolaise 4 ans après sa disparition" 4545:[Congo-Brazzaville – Guy Léon Fylla: The memory of a great legend of Congolese music 4 years after his disappearance]. 2030:. Certain artists who had performed in Franco Luambo and Grand Kalle's bands went on to establish their own ensembles, such as 1697: 8483: 3860: 3302: 2619: 2307:

and African music. In 1978, Gustave moved into production and began inviting musicians from Zaire to come to Paris to record.

1966: 1770: 1759: 1717: 1566: 9714: 9654: 9627: 9600: 9573: 9546: 9460: 9433: 9406: 8801: 8774: 8654: 8611: 8557: 8414: 8387: 8254: 8227: 7955: 7816: 7789: 7558: 7504: 7423: 7396: 7369: 7342: 7290: 7215: 7188: 7161: 7134: 7068: 6988: 6961: 6878: 6771: 6744: 6655: 6623: 6463: 6436: 6409: 6181: 6051: 5979: 5834: 5807: 5780: 5653: 5623: 5502: 5475: 5399: 5266: 5052: 4912: 4885: 4687: 4606: 4515: 4434: 4127: 4097: 4067: 4038: 3924: 3760: 3654: 3627: 3600: 3438: 3411: 3384: 543:. The genre's instrumentation has evolved over time. Initially, local tunes were concocted employing instruments such as the 7701: 7332: 7205: 5711: 5337: 5124: 4902: 2550:

and swirling guitar riffs. Although initiated by Radja Kula in 1995, it was notably popularized and refined in the 1990s by

1815:

During this period, guitarist Faugus Izeidi of African Fiesta Le Peuple, formerly of the African Jazz School, pioneered the

1549:. The label was founded in 1949 by two Jewish entrepreneurs, Gabriel Moussa Benatar and Joseph Benatar, originally from the 968:, which later eclipsed older dances and musical forms. The penchant for partnered dance traversed the Congo region by 1930. 1495: 830: 8377: 8217: 5899: 2174:

became the first Congolese rumba artist and the first African artist to headline one of Paris's major concert venues, the

1949:, many musicians sought to express their dissenting messages and daily tribulations through various forms of art, such as 1853:

style being "rougher, more repetitive and rooted in rhythms that moved the hips of dancers at Kinshasa's hottest clubs."

4394: 9875: 7280: 7089:"Pouvoir et représentations à Kinshasa : les musiciens congolais, nouvelles élites d'une jeunesse urbaine en crise" 5799:

L'autre Lumumba. Peuple du Congo : Histoire, résistances, assassinats et victoires sur le front de la Guerre froide

5072: 961:

dancers involved a rhythmic hip sway that shifted body weight alternately from one leg to the other, reminiscent of the

8458: 7997: 7494: 3277: 2566: 1907:, and Wenge BCBG Les Anges Adorables, by JP Mpiana. Over the years, the ensemble spun off several musicians, including 1531:. Alexandre would tour Léopoldville with his musicians in a van equipped with loudspeakers broadcasting CEFA releases. 1349:

Apart from their musical contributions, the Odéon Kinois Orchestra played a significant role in challenging entrenched

1218: 10102: 921:, which now constitute the Republic of the Congo and the Democratic Republic of the Congo, respectively, was known as 10052: 9396: 9373: 9263: 9134: 9100: 9073: 8764: 8601: 8584: 8271: 7585: 7531: 6573: 6546: 6519: 4677: 4596: 4404: 4312: 4282: 4255: 4228: 4198: 4171: 4161: 4144: 4087: 3836: 3260: 2408:

Paris emerged as a hub for soukous musicians, serving as a crossroads where other African and European music styles,

2282: 1148:

ensembles—a quartet featuring a piano, acoustic guitar, saxophone, and Feruzi's preferred instrument, the accordion.

8791: 8024: 2718:'s song "Pas Possible Mati" is recognized as one of the best female compositions in Congolese rumba. In early 1984, 1484:

pressing technology, which allowed musicians to extend recordings. Paul Kamba and his Victoria Brazza traversed the

1267:

with non-programmable traditional instruments emerged as a defining characteristic of the "modern Congolese rumba".

512:

have made significant contributions to the genre, pushing its boundaries and incorporating modern musical elements.

413:, and Los Guaracheros de Oriente were frequently misattributed as "rumba". The 1960s and 1970s saw the emergence of 4734:[Congo-Brazzaville – Albert Loboko, inspirer and precursor of the notions of rumba in 1932 – Congo Rumba]. 4704: 4329: 2310:

Meanwhile, in Africa, Zaïko Langa Langa became "the leader of a new generation of orchestras". The band's drummer,

1048:

rhythm, played on a large drum, which delineated the tempo of the emerging musical genre. He further explains that

802: 312: 247: 7231: 10129: 9943:"Rumba in the City of Peace: Migration and the Cultural Commodity of Congolese Music in Dar es Salaam, 1968-1985" 7887:"Congo – Les Bantous de la capitale, Suite du résumé chronologique des 60 ans – (Années 1980–1989) – Chapitre IV" 6704: 5218: 4651:"Père fondateur du "Sébène", Pépé Felly Manuaku : "les médailles marquent la reconnaissance d'une carrière"" 1572: 1076:

dictionary defines sebene as dance, although the precise moment of its linguistic integration remains ambiguous.

9154: 7602: 6375:["O Dipandatcha-tchaTozui e": history and cultural connections through the Congolese rumba (1940–1965)] 10224: 9337:""C'est la musique préférée des Ivoiriens" : à Abidjan, les Congolais entretiennent la flamme de la rumba" 3960: 3482: 3403:

Encyclopedia of the African Diaspora [3 volumes]: Origins, Experiences, and Culture [3 volumes]

2491:"C'est quoi ça?" – "What's that?"). This dance form was adopted by many artists and was notably popularized by 2304: 10093: 10071: 1849:

into the central element of Congolese music, as opposed to merely a departure between choruses, with Franco's

1151: 9791: 2917:

who enhance the rhythm and interactivity of performances, into its songs. The first Congolese band to employ

2679:, Tabu Ley Rochereau, Franco Luambo, among others, during the Zaire 74 music festival. Abeti's second album, 2402: 2222: 2195: 2044: 1978: 1777:. In 1957, these schools made significant advancements to the genre, with OK Jazz embracing a style known as 1661: 1621: 1052:(popularly known as Jhimmy Zakari), introduced a rhythm inspired by a Cuban sound, dominated by highlife and 946: 386: 17: 9309: 5995: 4732:"Congo-Brazzaville – Albert Loboko, Inspirateur et précurseur des notions de la rumba en 1932 – Congo Rumba" 2734:—for the Safari Ambiance label. Through her albums and performances, she popularized the mutuashi rhythm, a 2452:, receiving an official invitation to perform during the 20th-anniversary celebrations of Renovation Day in 8902: 7091:[Power and representations in Kinshasa: Congolese musicians, new elites of urban youth in crisis]. 5415: 2980: 2871: 2704: 2448:. Meanwhile, Les Bantous de la Capitale became the favored Congolese rumba orchestra of Gabonese president 2048: 1835:

became a groundbreaking guitarist in Congolese music history with his fiesta style, drawing on traditional

320: 4653:[Founding father of "Sébène", Pépé Felly Manuaku: "the medals mark the recognition of a career"]. 1144:, relocated to Léopoldville at the age of 15, where he established one of the city's notable professional 836: 237:

Bakolo Music International, the oldest traditional Congolese rumba music group, during a rehearsal in 2014

10879: 8932: 7753:""Our candidate is Mobutu": Propaganda in "Candidat na biso Mobutu" (1984) – Innovative Research Methods" 6898: 6129:

52 ans de musique congolaise : Au Congo-Kinshasa République démocratique du Congo (RDC) – 1960–2012

5743: 4462: 3514: 2934: 2601: 2206: 1358: 1183: 588: 9821: 7038:

52 ans de musique congolaise : Au Congo-Kinshasa République démocratique du Congo (RDC) – 1960–2012

4500:

52 ans de musique congolaise : Au Congo-Kinshasa République démocratique du Congo (RDC) – 1960–2012

1999: 1900: 894: 9913: 8985: 8627: 3124: 1625: 8644: 6801: 5874: 3455: 2542:

became a popular and danceable fast-paced, hip-swaying dance music in Africa. Defined by its spirited

1884:, a unified choir, a soloist, and soukous "shocked" dance, characterized by intricate body movements. 1317: 10490: 6025: 5363: 5099: 3170: 2749:-infused renditions of the genre emerged as a potent avenue for female expression. Ensembles such as 2397:, and a significant number migrated to Paris, Brussels, and London. However, throughout this period, 1596:(now South Africa) for the Best Recording of African Music. In 1954, the Papadimitriou brothers from 4795:"Les deux premiers grands orchestres de cuivres de Brazzaville et de Kinshasa en 1940 – Zenga-Mambu" 2300: 1329: 6373:""O Dipandatcha-tchaTozui e": história e conexões culturais através da rumba congolesa (1940–1965)" 5542: 4368: 1974: 1394: 1166:

bands enjoyed substantial popularity domestically and abroad, which boosted the initiation of the

8111:"Congo-Kinshasa : Rochereau Tabu Ley : le politique saura-t-il égaler l'artiste ?" 3165:

movement precipitated an upsurge in the popularity of Congolese rumba in Tanzania and Kenya, and

2814: 2166:

and the country's underdeveloped music industry. The oppressive reign of the autocratic dictator

1861: 1524: 1037: 1016: 8113:[Congo-Kinshasa: Rochereau Tabu Ley: will the politician be able to equal the artist?]. 5044: 4985: 4946: 3162: 2260: 1970: 1182:

relatively late, with a handful of novelty recordings (primarily African "spirituals") from the

10015: 9191: 8734: 7915: 6286: 4062:. Van Nuys, Los Angeles, California, United States: Alfred Music Publishing. 2008. p. 17. 1958: 1669: 7806: 6828:"On Remembering Le premier festival culturel panafricain d'Alger 1969: An Assembled Interview" 2820:

The emergence of champeta involved replicating musical arrangements by Congolese artists like

10265: 9129:. Albany, New York City, New York State: State University of New York Press. pp. 40–41. 8056: 7580:. Albany, New York City, New York State: State University of New York Press. pp. 40–41. 6379:(in Portuguese). Rio de Janeiro: Pontifical Catholic University of Rio de Janeiro. p. 11 3169:

from Kinshasa made their way to local markets in East Africa. Congolese rumba bands, such as

2975:

market. Originating in the United States, the genre rapidly gained popularity among youth of

2848:

influence, a derivative of Congolese rumba. They composed and sang in their native language,

2611: 2437: 1798: 1593: 1175: 1098: 973: 806: 632: 381:" culture in Brazzaville and Léopoldville, which incorporated distinctive elements such as a 366: 304: 251: 65: 8484:"43 elements inscribed on UNESCO's inscribed on UNESCO's intangible cultural heritage lists" 8351:"Kinshasa: Gentiny Ngobila s'engage mordicus pour l'organisation des obsèques de Radja Kula" 7306: 3303:"43 elements inscribed on UNESCO's inscribed on UNESCO's intangible cultural heritage lists" 2538:

Emerging at the end of the 1990s and drawing inspiration from Congolese rumba and soukouss,

2276: 2007: 1865: 1065: 663:

guitar mediates between the high-pitched lead guitar and the low-pitched rhythm guitar. The

327:, and lyrics, Congolese rumba has gained global recognition and remains an integral part of 8671: 7728:"Happy are those who sing and dance: Mobutu, Franco, and the struggle for Zairian identity" 7496:

Encyclopedia of the African Diaspora [3 volumes]: Origins, Experiences, and Culture

7180:

Encyclopedia of the African Diaspora: Origins, Experiences, and Culture [3 volumes]

5195:[Section 1.-1930–1950: from agbaya to the era of pioneering modern popular music]. 5193:"Section 1.-1930–1950 : de l'agbaya à l'ère de la musique populaire moderne pionnière" 2968: 2867:

brand synthesizer for sound effects are instrumental in shaping champeta's distinct sound.

2805:

communities, where it was incorporated into sound systems at parties across cities such as

1923:, Tutu Callugi, Alain Mpela, Adolphe Dominguez, Marie Paul Kambulu, and Ricoco Bulambemba. 1398: 1343: 1152:

Impact of the international recording industry, Victoria Brazza, and modern Congolese rumba

976:

explains that many recording studio proprietors at the time sought to reinterpret the term

672: 105: 10552: 9681: 8353:[Kinshasa: Gentiny Ngobila is committed to organizing the funeral of Radja Kula]. 5581: 3885: 2922: 2902: 2892: 2758: 2656: 2429: 2264: 2242: 1940: 1908: 1869: 1721: 1476:, fitted with roof-mounted speakers—a sight immortalized on the cover of the compact disc 880: 377:

of Angola. The style gained prominence in the 1920s–1940s, introducing the advent of the "

8: 10433: 10122: 9619:

Global Linguistic Flows: Hip Hop Cultures, Youth Identities, and the Politics of Language

8249:. Santa Barbara, California, United States: Bloomsbury Publishing USA. pp. 207–208. 4761:[Albert Loboko one of the very first precursors of the Congolese Rumba in 1935]. 3622:. Van Nuys, Los Angeles, California, United States: Alfred Music Publishing. p. 15. 2806: 2378: 1423: 737: 9541:. New York, New York State, United States: Bloomsbury Publishing USA. pp. 239–245. 7499:. New York City, New York State, United States: Bloomsbury Publishing USA. p. 849. 7388:

Musical Migrations: Transnationalism and Cultural Hybridity in Latin/o America, Volume I

5391:

Continuum Encyclopedia of Popular Music of the World, Volume 1: Media, Industry, Society

4759:"Albert Loboko, inspirateur et précurseur des notions de la rumba en 1932 – Congo rumba" 4307:. Philadelphia, Pennsylvania, United States: Temple University Press. pp. 214–215. 4247:

Martial Arts of the World: An Encyclopedia of History and Innovation [2 Volumes]

2143: 1368:

gained prominence for popularizing the style during the 1950s. He performed a duet with

10389: 10355: 9970: 9255:

Orality, Identity, and Resistance in Palenque (Colombia): An Interdisciplinary Approach

8958: 6538:

Music, National Identity and the Politics of Location: Between the Global and the Local

5037: 4349: 3571: 3096: 3015: 2825: 2360: 2350: 2246: 2171: 2147: 2031: 1899:

dance music and dominated the scene until 1997, when the band split into two factions:

1605: 1597: 1191: 1179: 564: 493: 8629:

Jeune Afrique : cahier de l'Union africaine des arts et des lettres, Issues 21-32

7126:

Africa [3 Volumes]: An Encyclopedia of Culture and Society [3 Volumes]

4570:"Les deux premiers grands orchestres de cuivres de Brazzaville et de Kinshasa en 1940" 4149:. Berkeley, California, United States: University of California, Berkeley. p. 88. 2837: 2502: 2464: 2271:(behind), Enoch Zamuangana (behind), Teddy Sukami, Papa Wemba, Damien Ndebo (behind), 2082: 10771: 10367: 10340: 10048: 9962: 9710: 9650: 9623: 9596: 9569: 9542: 9456: 9429: 9402: 9369: 9259: 9162: 9130: 9096: 9069: 8797: 8770: 8650: 8607: 8580: 8553: 8549:

Gendered Encounters: Challenging Cultural Boundaries and Social Hierarchies in Africa

8410: 8383: 8250: 8223: 8190: 8163: 8137: 8110: 8083: 7951: 7812: 7785: 7610: 7581: 7554: 7527: 7500: 7419: 7392: 7365: 7338: 7286: 7211: 7184: 7157: 7130: 7064: 6984: 6957: 6874: 6849: 6767: 6740: 6651: 6619: 6569: 6542: 6515: 6459: 6432: 6405: 6177: 5975: 5830: 5803: 5776: 5649: 5619: 5562: 5498: 5471: 5395: 5262: 5128: 5048: 5005: 4966: 4908: 4881: 4683: 4602: 4430: 4400: 4353: 4308: 4278: 4251: 4224: 4194: 4167: 4123: 4093: 4063: 4034: 3920: 3832: 3756: 3650: 3623: 3596: 3563: 3434: 3407: 3380: 3256: 3174: 3154: 3150: 3035: 2875: 2792:

since the 1970s and has had a significant impact on the local musical genre known as

2527: 2513:, deploying incisive commentary on the everyday challenges faced by his compatriots. 1912: 1665: 1649: 1584:

By the early 1950s, local artists associated with eclectic Congolese labels owned by

1481: 1435:

was widely referred to as the "rumba king" for redefining and popularizing the genre.

1279: 934: 876: 696: 362: 261: 9709:. Santa Barbara, California, United States: Bloomsbury Publishing USA. p. 138. 8431: 6233: 4797:[The first two major brass orchestras of Brazzaville and Kinshasa in 1940]. 4572:[The first two major brass orchestras of Brazzaville and Kinshasa in 1940]. 4030:

Bamonimambo (The Witnesses): Rediscovering DR Congo and British Isles Common History

1962: 1685: 1562: 643:

in Congolese rumba is responsible for playing intricate, high-pitched melodies. The

485: 10798: 10532: 10525: 10520: 10384: 10350: 10335: 10330: 10293: 9954: 6839: 6676:"Afropop Worldwide | Best of the Beat on Afropop: Leo Sarkisian and Mwamba Dechaud" 5554: 4997: 4958: 4341: 3555: 3178: 3158: 3120: 2976: 2167: 2163: 2122: 2106: 2090: 1637: 1516: 1271: 1106: 942: 798: 729: 501: 437: 406: 374: 114: 10754: 10233: 9989: 8432:"Musique : qu'est-ce que le clan Wenge, pionnier de la danse Ndombolo ?" 7916:"E-journal Kinshasa : Ces danses majeures dans la musique congolaise moderne" 6234:"Musique : qu'est-ce que le clan Wenge, pionnier de la danse Ndombolo ?" 6201: 5904:. Braintree, Massachusetts, United States: JazzTimes, Inc. April 1996. p. 64. 4223:. New York City, New York State, United States: Knopf Doubleday Publishing Group. 3886:"African Music Library: Congolese Rumba Music Genre History and Style Description" 2663:

and her troupe Les Tigresses gained critical acclaim for their performance at the

2459: 1199: 846:

explains that the majority of enslaved Africans brought to Cuba were initially of

720:-based, involving variations on themes, often utilizing intervals like thirds and 10843: 10828: 10744: 10724: 10624: 10587: 10401: 10308: 10298: 10288: 10177: 9706:

Hip Hop around the World [2 volumes]: An Encyclopedia [2 volumes]

9704: 9644: 9617: 9590: 9563: 9536: 9423: 9363: 9253: 9124: 9090: 9037: 8822:"Découvrez l'histoire captivante d'Abeti Masikini : une légende inoubliable" 8574: 8029: 7945: 7779: 7727: 7575: 7548: 7521: 7151: 7058: 6978: 6951: 6868: 6650:. Chicago, Illinois, United States: University of Chicago Press. pp. 22–25. 6613: 6563: 6536: 6509: 6431:. Chicago, Illinois, United States: University of Chicago Press. pp. 23–33. 6426: 6171: 6105: 5969: 5824: 5797: 5770: 5643: 5613: 5492: 5465: 5389: 5001: 4962: 4875: 4424: 4302: 4272: 4245: 4188: 4117: 4057: 3914: 3826: 3644: 3617: 3590: 3428: 3401: 3374: 3250: 3198: 3140: 3112: 3084: 2841: 2802: 2762: 2746: 2715: 2664: 2510: 2492: 2175: 2129:

garnered substantial followings in the United States, Europe, and across Africa.

2078: 2019: 1916: 1617: 1554: 1302: 1260: 1049: 969: 818: 814: 708: 683:

The musical structure involves the use of vocal harmonies, typically arranged in

468:

or looping phrases, and danceable beats are also typical elements of the genre.

328: 9731:"African Music Spotlight: Bisso Na Bisso Brought African Heritage to French Rap" 7285:. New York City, New York State, United States: Fordham Univ Press. p. 37. 6176:. Durham, North Carolina, United States: Duke University Press. pp. 50–51. 4904:

Continuum Encyclopedia of Popular Music of the World: Africa and the Middle East

4848: 4122:. Durham, North Carolina, United States: Duke University Press. pp. 59–61. 3680: 3649:. Durham, North Carolina, United States: Duke University Press. pp. 52–58. 2496: 2014:

By the latter half of 1960, Congolese rumba was an established genre in most of

740:. The vocal delivery encompasses a wide range of expressive modalities, such as 10515: 10396: 10360: 10313: 10203: 10198: 10115: 6341:"DRC: Congolese music fans rejoice as Werrason and JB Mpiana finally reconcile" 6079:"Zaïko Langa Langa : 54 ans d'une légende musicale de la jeunesse kinoise" 5648:. Lanham, Maryland, United States: Rowman & Littlefield. pp. 112–113. 4429:. Cambridge, England, United Kingdom: Cambridge University Press. p. 136. 4345: 3919:. Cambridge, England, United Kingdom: Cambridge University Press. p. 131. 3136: 3060: 3003: 2987: 2972: 2962: 2853: 2829: 2684: 2660: 2633: 2311: 2272: 2268: 2179: 2098: 2074: 2053: 2047:

and Ok Jazz became the first Congolese rumba bands to perform at the inaugural

2039: 2015: 1986: 1954: 1641: 1629: 1459: 1414: 1402: 1364:

While the Odéon Kinois Orchestra is credited with pioneering sébène, guitarist

1275: 1033: 786: 733: 716:

with the lead singer or chorus". Improvisation in Congolese rumba is generally

624: 526: 505: 461: 410: 271: 9849:"France : La liste non exhaustive des rappeurs originaires de deux Congo" 9503: 9258:. Amsterdam, Netherlands: John Benjamins Publishing Company. pp. 15–104. 9252:

Schwegler, Armin; Kirschen, Bryan; Maglia, Graciela, eds. (19 December 2017).

8877:"RDC : Yolanda, la fille aînée de Abeti Masikini a été enterrée ce mardi" 7832: 7253: 6568:. Thames, Oxfordshire United Kingdom: Taylor & Francis. pp. 132–133. 5851: 5519: 5156: 4005: 3831:. Thames, Oxfordshire United Kingdom: Taylor & Francis. pp. 132–133. 3803: 3330: 1692:), the Congo-Decca group (a subsidiary of Decca West Africa Limited, owned by 1140:

As music thrived in Brazzaville, accordionist Camille Feruzi, originally from

10868: 10709: 10704: 10592: 10276: 10208: 9966: 9166: 8382:. New York City, New York State, United States: Hachette Books. p. 129. 7950:. Chicago, Illinois, United States: University of Chicago Press. p. 14. 7670: 7641: 7614: 6853: 6593:. Edinburgh, Scotland, United Kingdom: University of Edinburgh. pp. 1–30 6081:[Zaïko Langa Langa: 54 years of a musical legend of Kinshasa youth]. 5566: 5470:. Chicago, Illinois, United States: University of Chicago Press. p. 29. 5421: 5009: 4970: 4160:

Clark, Duncan A.; Lusk, Jon; Ellingham, Mark; Broughton, Simon, eds. (2006).

4146:

Ethnography of Rumba: Dance and Social Change in Contemporary Cuba · Volume 1

3567: 3205:, embraced the Congolese rumba style while singing in their native language, 3182: 3104: 3080: 3076: 3023: 2999: 2739: 2676: 2668: 2555: 2531: 2506: 2488: 2472: 2398: 2331: 2250: 2234: 2230: 2183: 2151: 2126: 1946: 1820: 1762:(right) were two major schools of Congolese rumba during the 1950s and 1960s. 1693: 1609: 1432: 1397:

machine and microphones from the United States. Jeronimidis named his studio

1390: 1373: 1369: 1208: 1195: 981: 918: 910: 860: 851: 847: 717: 692: 684: 659:

translates to "half-solo", signifying its transitional function, wherein the

644: 568: 481: 477: 445: 433: 354: 98: 10172: 4277:. Oakland, California, United States: University of California. p. 79. 2471:

Concurrently, Congolese choreographer Jeanora pioneered a dance form called

1920: 1737: 10776: 10761: 10714: 10629: 10609: 10411: 10318: 10281: 8222:. New York City, New York State, United States: Bloomsbury Publishing USA. 6485: 5971:

Les coulisses de la musique congolaise : de l'African Jazz à l'Afrisa

4880:. Cambridge, United Kingdom: Cambridge University Press. pp. 131–152. 3559: 3379:. Cambridge, United Kingdom: Cambridge University Press. pp. 131–152. 3194: 3166: 3011: 2833: 2821: 2810: 2754: 2719: 2692: 2644: 2623: 2615: 2551: 2421: 2409: 2364: 2315: 2292: 2254: 2218: 2110: 2094: 2086: 2058: 2035: 1992: 1950: 1888: 1832: 1808: 1794: 1782: 1727: 1701: 1673: 1657: 1633: 1463: 1442: 1385: 1365: 1240: 1061: 1020: 914: 884: 822: 592: 497: 489: 473: 351: 308: 50: 10162: 6511:

Cultures and Globalization: Cultural Expression, Creativity and Innovation

6458:. Leuven, Flemish Brabant, Belgium: Leuven University Press. p. 302. 5558: 5543:"Osborn Awards for the best recordings of African music for the year 1953" 5394:. London, England, United Kingdom: Bloomsbury Academic. pp. 699–700. 3406:. Santa Barbara, California: Bloomsbury Publishing USA. pp. 848–849. 2579:

UNESCO Representative List of the Intangible Cultural Heritage of Humanity

1468: 957:, which possessed seven to nine steel reeds. The distinctive movements of 10572: 10500: 10460: 10377: 10372: 10138: 7925:(in French). Kinshasa, Democratic Republic of the Congo. 2020. p. 15 7862:[50 years of existence: Zaïko Langa Langa rises from the ashes]. 7784:. Oxford, England, United Kingdom: Oxford University Press. p. 408. 7707:. London, England, United Kingdom: World Music Method Ltd. pp. 22–23 7156:. Oxford, England, United Kingdom: Oxford University Press. p. 312. 6404:. Santa Barbara, California, United States.: Punctum Books. p. 206. 5343:. London, England, United Kingdom: World Music Method Ltd. pp. 14–18 3190: 3186: 3144: 3043: 3007: 2942: 2735: 2700: 2688: 2672: 2210: 2114: 2052:

Samba Mascott, and Mpassy Mermans, while Franco Luambo collaborated with

2027: 2023: 1840: 1836: 1790: 1616:

in homage to their new employer and in recognition of their affinity for

1558: 1503:

A Belgian guitarist named Bill Alexandre, who had honed his craft in the

1489: 1485: 1455: 1350: 1295: 1187: 1167: 1157: 1041: 965: 962: 721: 664: 648: 640: 636: 628: 457: 449: 425: 343: 300: 156: 83: 9974: 9942: 9535:

Fonseca, Anthony J.; Goldsmith, Melissa Ursula Dawn (9 September 2021).

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The Latin Tinge: The Impact of Latin American Music on the United States

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Young people grooving to Congolese rumba rhythms in Léopoldville, 1960s

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employed for special effects. The music often features three types of

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