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[o]" accesskey="o"> Log in</a></li> </ul> </div> </div> <div id="p-user-menu-anon-editor" class="vector-menu mw-portlet mw-portlet-user-menu-anon-editor" > <div class="vector-menu-heading"> Pages for logged out editors <a href="/wiki/Help:Introduction" aria-label="Learn more about editing">learn more</a> </div> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li id="pt-anoncontribs" class="mw-list-item"><a href="/wiki/Special:MyContributions" title="A list of edits made from this IP address [y]" accesskey="y">Contributions</a></li><li id="pt-anontalk" class="mw-list-item"><a href="/wiki/Special:MyTalk" title="Discussion about edits from this IP address [n]" accesskey="n">Talk</a></li> </ul> </div> </div> </div> </div> </nav> </div> </header> </div> <div class="mw-page-container"> <div class="mw-page-container-inner"> <div class="vector-sitenotice-container"> <div id="siteNotice"></div> </div> <div class="vector-column-start"> <div 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href="#Europe_and_the_United_States"> <div class="vector-toc-text"> 2.3.1 Europe and the United States </div> </a> <ul id="toc-Europe_and_the_United_States-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Africa" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Africa"> <div class="vector-toc-text"> 2.3.2 Africa </div> </a> <ul id="toc-Africa-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Colombia" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Colombia"> <div class="vector-toc-text"> 2.3.3 Colombia </div> </a> <ul id="toc-Colombia-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-1980s_and_the_Paris_scene" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#1980s_and_the_Paris_scene"> <div class="vector-toc-text"> 2.4 1980s and the Paris scene </div> </a> <ul id="toc-1980s_and_the_Paris_scene-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Ndombolo" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Ndombolo"> <div class="vector-toc-text"> 3 Ndombolo </div> </a> <ul id="toc-Ndombolo-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-See_also" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#See_also"> <div class="vector-toc-text"> 4 See also </div> </a> <ul id="toc-See_also-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> 5 References </div> </a> <ul id="toc-References-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Bibliography" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Bibliography"> <div class="vector-toc-text"> 6 Bibliography </div> </a> <ul id="toc-Bibliography-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> 7 External links </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" > <input type="checkbox" id="vector-page-titlebar-toc-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-page-titlebar-toc" class="vector-dropdown-checkbox " aria-label="Toggle the table of contents" > <label id="vector-page-titlebar-toc-label" 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class="interlanguage-link-target">Català</a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Soukous" title="Soukous – German" lang="de" hreflang="de" data-title="Soukous" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target">Deutsch</a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Soukous" title="Soukous – Spanish" lang="es" hreflang="es" data-title="Soukous" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target">Español</a></li><li class="interlanguage-link interwiki-ext mw-list-item"><a href="https://ext.wikipedia.org/wiki/Soukous" title="Soukous – Extremaduran" lang="ext" hreflang="ext" data-title="Soukous" data-language-autonym="Estremeñu" data-language-local-name="Extremaduran" class="interlanguage-link-target">Estremeñu</a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D8%B3%D9%88%DA%A9%D9%88%D8%B3" title="سوکوس – Persian" lang="fa" hreflang="fa" data-title="سوکوس" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target">فارسی</a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Soukous" title="Soukous – French" lang="fr" hreflang="fr" data-title="Soukous" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target">Français</a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%EC%8A%A4%EC%BF%A0%EC%8A%A4" title="스쿠스 – Korean" lang="ko" hreflang="ko" data-title="스쿠스" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target">한국어</a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Rumba_africana" title="Rumba africana – Italian" lang="it" hreflang="it" data-title="Rumba africana" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target">Italiano</a></li><li class="interlanguage-link interwiki-ka mw-list-item"><a href="https://ka.wikipedia.org/wiki/%E1%83%A1%E1%83%9D%E1%83%A3%E1%83%99%E1%83%9D%E1%83%A3%E1%83%A1%E1%83%98" title="სოუკოუსი – Georgian" lang="ka" hreflang="ka" data-title="სოუკოუსი" data-language-autonym="ქართული" data-language-local-name="Georgian" class="interlanguage-link-target">ქართული</a></li><li class="interlanguage-link interwiki-sw mw-list-item"><a href="https://sw.wikipedia.org/wiki/Soukous" title="Soukous – Swahili" lang="sw" hreflang="sw" data-title="Soukous" data-language-autonym="Kiswahili" data-language-local-name="Swahili" class="interlanguage-link-target">Kiswahili</a></li><li class="interlanguage-link interwiki-la mw-list-item"><a href="https://la.wikipedia.org/wiki/Soukous" title="Soukous – Latin" lang="la" hreflang="la" data-title="Soukous" data-language-autonym="Latina" data-language-local-name="Latin" class="interlanguage-link-target">Latina</a></li><li class="interlanguage-link interwiki-arz mw-list-item"><a href="https://arz.wikipedia.org/wiki/%D8%B3%D9%88%D9%83%D9%88%D8%B3" title="سوكوس – Egyptian Arabic" lang="arz" hreflang="arz" data-title="سوكوس" data-language-autonym="مصرى" data-language-local-name="Egyptian Arabic" class="interlanguage-link-target">مصرى</a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Soukous" title="Soukous – Dutch" lang="nl" hreflang="nl" data-title="Soukous" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target">Nederlands</a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E3%82%B9%E3%83%BC%E3%82%AF%E3%83%BC%E3%82%B9" title="スークース – Japanese" lang="ja" hreflang="ja" data-title="スークース" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target">日本語</a></li><li class="interlanguage-link interwiki-nn mw-list-item"><a href="https://nn.wikipedia.org/wiki/Soukous" title="Soukous – Norwegian Nynorsk" lang="nn" hreflang="nn" data-title="Soukous" data-language-autonym="Norsk nynorsk" data-language-local-name="Norwegian Nynorsk" class="interlanguage-link-target">Norsk nynorsk</a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Soukous" title="Soukous – Portuguese" lang="pt" hreflang="pt" data-title="Soukous" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target">Português</a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Soukous" title="Soukous – Finnish" lang="fi" hreflang="fi" data-title="Soukous" data-language-autonym="Suomi" data-language-local-name="Finnish" 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div:not(.notheme){background:#1f1f23!important;color:#f8f9fa}}@media(min-width:640px){body.skin--responsive .mw-parser-output .infobox-table{display:table!important}body.skin--responsive .mw-parser-output .infobox-table>caption{display:table-caption!important}body.skin--responsive .mw-parser-output .infobox-table>tbody{display:table-row-group}body.skin--responsive .mw-parser-output .infobox-table tr{display:table-row!important}body.skin--responsive .mw-parser-output .infobox-table th,body.skin--responsive .mw-parser-output .infobox-table td{padding-left:inherit;padding-right:inherit}}</style><table class="infobox nowraplinks"><tbody><tr><th colspan="2" class="infobox-above">Soukous</th></tr><tr><td colspan="2" class="infobox-image"><a href="/wiki/File:Le_groupe_Loketo.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/1/15/Le_groupe_Loketo.jpg/220px-Le_groupe_Loketo.jpg" decoding="async" width="220" height="145" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/15/Le_groupe_Loketo.jpg/330px-Le_groupe_Loketo.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/15/Le_groupe_Loketo.jpg/440px-Le_groupe_Loketo.jpg 2x" data-file-width="1799" data-file-height="1188" /></a></td></tr><tr><th scope="row" class="infobox-label">Stylistic origins</th><td class="infobox-data hlist"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><div class="hlist"><ul><li><a href="/wiki/Congolese_rumba" title="Congolese rumba">Congolese rumba</a></li></ul></div></td></tr><tr><th scope="row" class="infobox-label">Cultural origins</th><td class="infobox-data hlist">Late 1960s in <a href="/wiki/Democratic_Republic_of_the_Congo" title="Democratic Republic of the Congo">DRC</a> and <a href="/wiki/Republic_of_the_Congo" title="Republic of the Congo">Republic of the Congo</a>, 1980s in <a href="/wiki/France" title="France">France</a></td></tr><tr><th scope="row" class="infobox-label">Derivative forms</th><td class="infobox-data hlist"><a href="/wiki/Muziki_wa_dansi" title="Muziki wa dansi">Muziki wa dansi</a> and <a href="/wiki/Ndombolo" title="Ndombolo">ndombolo</a></td></tr><tr><th colspan="2" class="infobox-header">Regional scenes</th></tr><tr><td colspan="2" class="infobox-full-data hlist">Congolese sound (<a href="/wiki/Kenya" title="Kenya">Kenya</a>, <a href="/wiki/Uganda" title="Uganda">Uganda</a>, <a href="/wiki/Tanzania" title="Tanzania">Tanzania</a>), fast-paced soukous (Paris)</td></tr><tr><th colspan="2" class="infobox-header">Other topics</th></tr><tr><td colspan="2" class="infobox-full-data hlist"><a href="/wiki/List_of_soukous_musicians" class="mw-redirect" title="List of soukous musicians">Soukous musicians</a></td></tr></tbody></table> Soukous (from <a href="/wiki/French_language" title="French language">French</a> <a href="https://en.wiktionary.org/wiki/secousse" class="extiw" title="wikt:secousse">secousse</a>, "shock, jolt, jerk") is a genre of <a href="/wiki/Dance_music" title="Dance music">dance music</a> originating from the <a href="/wiki/Democratic_Republic_of_the_Congo" title="Democratic Republic of the Congo">Democratic Republic of the Congo</a> (formerly <a href="/wiki/Zaire" title="Zaire">Zaire</a>) and the <a href="/wiki/Republic_of_the_Congo" title="Republic of the Congo">Republic of the Congo</a> (formerly <a href="/wiki/French_Congo" title="French Congo">French Congo</a>).<a href="#cite_note-encyc1-1">[1]</a> It derived from <a href="/wiki/Congolese_rumba" title="Congolese rumba">Congolese rumba</a> in the 1960s, with faster dance rhythms and bright, intricate <a href="/wiki/Musical_improvisation" title="Musical improvisation">guitar improvisation</a>,<a href="#cite_note-:0-2">[2]</a> and gained popularity in the 1980s in <a href="/wiki/France" title="France">France</a>.<a href="#cite_note-encyc2-3">[3]</a> 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.<a href="#cite_note-encyc2-3">[3]</a> Soukous fuses traditional Congolese rhythms with contemporary instruments. It customarily incorporates <a href="/wiki/Electric_guitar" title="Electric guitar">electric guitars</a>, <a href="/wiki/Double_bass" title="Double bass">double bass</a>, <a href="/wiki/Conga" title="Conga">congas</a>, clips, and <a href="/wiki/Brass_instrument" title="Brass instrument">brass</a>/<a href="/wiki/Woodwind_instrument" title="Woodwind instrument">woodwinds</a>.<a href="#cite_note-4">[4]</a><a href="#cite_note-5">[5]</a> Soukous lyrics often explore themes of <a href="/wiki/Love" title="Love">love</a>, <a href="/wiki/Social_commentary" title="Social commentary">social commentary</a>, <a href="/wiki/Intimate_relationship" title="Intimate relationship">amorous narratives</a>, philosophical musings, and ordinary <a href="/wiki/Struggle_session" title="Struggle session">struggles</a> and <a href="/wiki/Success" title="Success">successes</a>.<a href="#cite_note-:0-2">[2]</a> Singers occasionally sing and croon in <a href="/wiki/Lingala" title="Lingala">Lingala</a>, <a href="/wiki/Kikongo" class="mw-redirect" title="Kikongo">Kikongo</a>, <a href="/wiki/French_language" title="French language">French</a> and <a href="/wiki/Swahili_language" title="Swahili language">Swahili</a> and bands often consist of a primary vocalist accompanied by several <a href="/wiki/Backing_vocalist" title="Backing vocalist">backing singers</a>.<a href="#cite_note-6">[6]</a><a href="#cite_note-7">[7]</a> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Characteristics">Characteristics</h2>[<a href="/w/index.php?title=Soukous&action=edit&section=1" title="Edit section: Characteristics">edit</a>]</div> The music typically utilizes a <a href="/wiki/Time_signature" title="Time signature">12 8 time signature</a> and <a href="/wiki/Major_chord" title="Major chord">major chords</a> articulated in <a href="/wiki/Arpeggio" title="Arpeggio">arpeggiated</a> forms.<a href="#cite_note-:28-8">[8]</a> Soukous lead guitarists are renowned for their speed, precision, and nimble fingerwork, often navigating the higher <a href="/wiki/Register_(music)" title="Register (music)">registers</a> of the <a href="/wiki/Fingerboard" title="Fingerboard">fretboard</a>.<a href="#cite_note-:5-9">[9]</a> The <a href="/wiki/Bassline" title="Bassline">bassline</a>, inspired by <a href="/wiki/Hand_drum" title="Hand drum">hand-drum</a> percussion patterns, is the genre's rhythmic foundation and is typically characterized by a 16th-note cadence.<a href="#cite_note-:20-10">[10]</a> Emerging prominently during <a href="/wiki/Mobutu_Sese_Seko" title="Mobutu Sese Seko">Mobutu Sese Seko</a>'s reign in <a href="/wiki/Zaire" title="Zaire">Zaire</a>, the assertive bass style of soukous emulated regimented motions of military marches (marche militaire).<a href="#cite_note-:5-9">[9]</a> This distinctive bass approach involves toggling between lower and higher registers, achieved through a plucking method that employs both the thumb (p) and index finger (i).<a href="#cite_note-:5-9">[9]</a> Tonally, soukous is shaped by specific configurations in the <a href="/wiki/Bass_(sound)" title="Bass (sound)">bass</a>, <a href="/wiki/Range_(music)" title="Range (music)">midrange</a>, and <a href="/wiki/Treble_(sound)" title="Treble (sound)">treble</a> frequencies.<a href="#cite_note-:20-10">[10]</a> The bass is generally accentuated by +3 dB to yield a deep, full-bodied low-end that supports the groove. The midrange, especially around the 700 Hz frequency, is often left flat or enhanced by as much as +6 dB.<a href="#cite_note-:20-10">[10]</a> Meanwhile, the treble frequencies are either left flat or attenuated slightly by -3 dB.<a href="#cite_note-:20-10">[10]</a> In <a href="/wiki/Matonge_(Kinshasa)" title="Matonge (Kinshasa)">Matonge</a>, the rhythmic guitar typically accompanies mid-tempo vocal passages, with the bass and <a href="/wiki/Bass_drum" title="Bass drum">bass drums</a> accentuating the dominant beats, while guitarists emphasize the <a href="/wiki/Offbeat_(music)" class="mw-redirect" title="Offbeat (music)">offbeats</a> (one and two and three and four and).<a href="#cite_note-:5-9">[9]</a> During vocal performances, the lead guitarist lays down a groove that underpins harmonized <a href="/wiki/Call_and_response" title="Call and response">call-and-response</a> singing,<a href="#cite_note-:5-9">[9]</a> often intensified by an echo effect, producing an auditory experience sometimes described as a hypnotic auditory experience.<a href="#cite_note-:28-8">[8]</a> The percussion section is characterized by an unyielding, fast-paced beat, most commonly referred to as <a href="/wiki/Cavacha" title="Cavacha">cavacha</a>, with the drummer taking the lead in <a href="/wiki/Audio_signal" title="Audio signal">signaling</a> shifts for the guitarists to match the lead player's transitions.<a href="#cite_note-:28-8">[8]</a><a href="#cite_note-:5-9">[9]</a> Soukous <a href="/wiki/Chord_progression" title="Chord progression">chord progressions</a> mainly rely on the I, IV, and V chords.<a href="#cite_note-:5-9">[9]</a> Common progressions include:<a href="#cite_note-:5-9">[9]</a> <ol><li>I - I - IV - IV</li> <li>I - IV - V</li> <li>I -I - V-V</li> <li>I - IV/V</li> <li>V/IV - I</li> <li>I/IV - IV/I</li> <li>I - V- I - V</li> <li>V/IV - I</li></ol> <div class="mw-heading mw-heading2"><h2 id="History">History</h2>[<a href="/w/index.php?title=Soukous&action=edit&section=2" title="Edit section: History">edit</a>]</div> <div class="mw-heading mw-heading3"><h3 id="Origins">Origins</h3>[<a href="/w/index.php?title=Soukous&action=edit&section=3" title="Edit section: Origins">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Congolese_rumba" title="Congolese rumba">Congolese rumba</a></div> The origins of the genre can be traced back to <a href="/wiki/Congolese_rumba" title="Congolese rumba">Congolese rumba</a>, which emerged in the early 20th century when urban residents of the <a href="/wiki/French_Congo" title="French Congo">French Congo</a> and the <a href="/wiki/Belgian_Congo" title="Belgian Congo">Belgian Congo</a> embraced the fusion of intertribal <a href="/wiki/Kongo_people" title="Kongo people">Kongolese</a> maringa dance music near <a href="/wiki/Pool_Malebo" title="Pool Malebo">Pool Malebo</a>, infused with guitar techniques from <a href="/wiki/Liberia" title="Liberia">Liberia</a>.<a href="#cite_note-:3-11">[11]</a> The outflow of <a href="/wiki/Kru_people" title="Kru people">Kru</a> <a href="/wiki/Merchant" title="Merchant">merchants</a> and sailors from Liberia to <a href="/wiki/Brazzaville" title="Brazzaville">Brazzaville</a> during the mid-19th century introduced distinctive guitar-playing techniques that ultimately influenced the use of the <a href="/wiki/Accordion" title="Accordion">accordion</a> to emulate local "likembe" (thumb piano, best known worldwide as a <a href="/wiki/Mbira" title="Mbira">mbira</a>) rhythms.<a href="#cite_note-:3-11">[11]</a><a href="#cite_note-12">[12]</a> As early as 1902, the accordion's melodies resonated through the streets near Pool Malebo's factories.<a href="#cite_note-:3-11">[11]</a> <figure class="mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Club_de_rumba_congolaise_%C3%A0_L%C3%A9opoldville.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c3/Club_de_rumba_congolaise_%C3%A0_L%C3%A9opoldville.jpg/179px-Club_de_rumba_congolaise_%C3%A0_L%C3%A9opoldville.jpg" decoding="async" width="179" height="182" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/c3/Club_de_rumba_congolaise_%C3%A0_L%C3%A9opoldville.jpg/268px-Club_de_rumba_congolaise_%C3%A0_L%C3%A9opoldville.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/c3/Club_de_rumba_congolaise_%C3%A0_L%C3%A9opoldville.jpg/358px-Club_de_rumba_congolaise_%C3%A0_L%C3%A9opoldville.jpg 2x" data-file-width="1500" data-file-height="1527" /></a><figcaption>A <a href="/wiki/Duet" title="Duet">duo</a> performing at <a href="/wiki/Congolese_rumba" title="Congolese rumba">Congolese rumba</a> nightspot in <a href="/wiki/Kinshasa" title="Kinshasa">Léopoldville</a></figcaption></figure> The outbreak of <a href="/wiki/World_War_I" title="World War I">World War I</a> introduced a new wave of music and dance across the <a href="/wiki/Kongo_Central" title="Kongo Central">Lower Congo</a> (present-day <a href="/wiki/Kongo_Central" title="Kongo Central">Kongo Central</a>) and the <a href="/wiki/Pool_Malebo" title="Pool Malebo">Pool Malebo</a> region.<a href="#cite_note-:3-11">[11]</a> Emerging from <a href="/wiki/Labor_camp" title="Labor camp">labor camp</a> and conceivably associated with the return of <a href="/wiki/Matadi%E2%80%93Kinshasa_Railway" title="Matadi–Kinshasa Railway">Matadi–Kinshasa Railway</a> construction workers, local dances such as agbaya and maringa gained prominence.<a href="#cite_note-:3-11">[11]</a> The <a href="/wiki/Circle_dance" title="Circle dance">circular</a> agbaya dance was soon replaced by <a href="/wiki/Partner_dance" title="Partner dance">partnered</a> maringa dance music, becoming increasingly ubiquitous in <a href="/wiki/Matadi" title="Matadi">Matadi</a>, <a href="/wiki/Boma,_Democratic_Republic_of_the_Congo" title="Boma, Democratic Republic of the Congo">Boma</a>, <a href="/wiki/Brazzaville" title="Brazzaville">Brazzaville</a>, and Léopoldville (now <a href="/wiki/Kinshasa" title="Kinshasa">Kinshasa</a>).<a href="#cite_note-:3-11">[11]</a> Initially, maringa bands featured the likembe for <a href="/wiki/Melody" title="Melody">melody</a>, a metal rod-struck bottle for rhythm, and a small skin-covered <a href="/wiki/Frame_drum" title="Frame drum">frame drum</a> called patenge for <a href="/wiki/Counter-melody" title="Counter-melody">counter-rhythms</a>.<a href="#cite_note-:3-11">[11]</a> However, by the 1920s, accordions and <a href="/wiki/Acoustic_guitar" title="Acoustic guitar">acoustic guitars</a> progressively supplanted the likembe as melody instruments. The distinctive hip movements of maringa dancers, shifting their body weight between legs gained popularity.<a href="#cite_note-:3-11">[11]</a> By 1935, partnered dancing's popularity dispersed expeditiously across the <a href="/wiki/Congo_Basin" title="Congo Basin">Congo basin</a>, reaching even remote villages. Dance halls emerged in towns and rural areas, while conventional dancing persisted in palm branch huts.<a href="#cite_note-:3-11">[11]</a> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Bar_de_rumba_congolaise_%C3%A0_L%C3%A9opoldville_de_1955_%C3%A0_1965.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/9a/Bar_de_rumba_congolaise_%C3%A0_L%C3%A9opoldville_de_1955_%C3%A0_1965.jpg/220px-Bar_de_rumba_congolaise_%C3%A0_L%C3%A9opoldville_de_1955_%C3%A0_1965.jpg" decoding="async" width="220" height="148" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/9a/Bar_de_rumba_congolaise_%C3%A0_L%C3%A9opoldville_de_1955_%C3%A0_1965.jpg/330px-Bar_de_rumba_congolaise_%C3%A0_L%C3%A9opoldville_de_1955_%C3%A0_1965.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/9a/Bar_de_rumba_congolaise_%C3%A0_L%C3%A9opoldville_de_1955_%C3%A0_1965.jpg/440px-Bar_de_rumba_congolaise_%C3%A0_L%C3%A9opoldville_de_1955_%C3%A0_1965.jpg 2x" data-file-width="1500" data-file-height="1007" /></a><figcaption>Congolese rumba bar in Léopoldville</figcaption></figure> In the early 1940s, Pool Malebo transformed from a barrier into a communication channel linking Brazzaville and Kinshasa.<a href="#cite_note-:3-11">[11]</a> The <a href="/wiki/Son_cubano" title="Son cubano">Cuban son</a> groups like <a href="/wiki/Sexteto_Habanero" title="Sexteto Habanero">Sexteto Habanero</a>, <a href="/wiki/Trio_Matamoros" title="Trio Matamoros">Trio Matamoros</a>, and Los Guaracheros de Oriente were broadcast on <a href="/wiki/Radio_Congo_Belge" title="Radio Congo Belge">Radio Congo Belge</a>, gaining popularity in the country.<a href="#cite_note-:3-11">[11]</a><a href="#cite_note-13">[13]</a><a href="#cite_note-14">[14]</a> Due to influence of Cuban son, the maringa dance music—although unrelated to <a href="/wiki/Cuban_rumba" title="Cuban rumba">Cuban rumba</a>—became known as "<a href="/wiki/Congolese_rumba" title="Congolese rumba">rumba Congolaise</a>" as the imported records of <a href="/wiki/Sexteto_Habanero" title="Sexteto Habanero">Sexteto Habanero</a> and <a href="/wiki/Trio_Matamoros" title="Trio Matamoros">Trio Matamoros</a> were often mislabeled as "rumba".<a href="#cite_note-:2-15">[15]</a><a href="#cite_note-:3-11">[11]</a><a href="#cite_note-16">[16]</a> Ethnomusicology Professor Kazadi wa Mukuna of <a href="/wiki/Kent_State_University" title="Kent State University">Kent State University</a> 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.<a href="#cite_note-:2-15">[15]</a> Consequently, their music became recognized as "Congolese rumba" or "African rumba". <a href="/wiki/Wendo_Kolosoy" title="Wendo Kolosoy">Antoine Wendo Kolosoy</a> became the first star of Congolese rumba touring <a href="/wiki/Europe" title="Europe">Europe</a> and <a href="/wiki/North_America" title="North America">North America</a> with his band Victoria Bakolo Miziki. His 1948 hit "Marie-Louise," co-written with guitarist <a href="/wiki/Henri_Bowane" title="Henri Bowane">Henri Bowane</a>, gained popularity across <a href="/wiki/West_Africa" title="West Africa">West Africa</a>.<a href="#cite_note-17">[17]</a><a href="#cite_note-18">[18]</a> Congolese rumba gained prominence in <a href="/wiki/Music_of_the_Democratic_Republic_of_the_Congo" title="Music of the Democratic Republic of the Congo">Congolese music</a> as early pioneers revolutionized their relationship with the instruments they held.<a href="#cite_note-:4-19">[19]</a><a href="#cite_note-20">[20]</a> <div class="mw-heading mw-heading3"><h3 id="Formation_and_paternity_debate">Formation and paternity debate</h3>[<a href="/w/index.php?title=Soukous&action=edit&section=4" title="Edit section: Formation and paternity debate">edit</a>]</div> <figure class="mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Orchestra_OK_Jazz_%C3%A0_L%C3%A9opoldville_de_1955_%C3%A0_1965.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/35/Orchestra_OK_Jazz_%C3%A0_L%C3%A9opoldville_de_1955_%C3%A0_1965.jpg/210px-Orchestra_OK_Jazz_%C3%A0_L%C3%A9opoldville_de_1955_%C3%A0_1965.jpg" decoding="async" width="210" height="214" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/35/Orchestra_OK_Jazz_%C3%A0_L%C3%A9opoldville_de_1955_%C3%A0_1965.jpg/315px-Orchestra_OK_Jazz_%C3%A0_L%C3%A9opoldville_de_1955_%C3%A0_1965.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/35/Orchestra_OK_Jazz_%C3%A0_L%C3%A9opoldville_de_1955_%C3%A0_1965.jpg/420px-Orchestra_OK_Jazz_%C3%A0_L%C3%A9opoldville_de_1955_%C3%A0_1965.jpg 2x" data-file-width="1500" data-file-height="1527" /></a><figcaption>Drummer of <a href="/wiki/TPOK_Jazz" title="TPOK Jazz">TPOK Jazz</a> in Léopoldville</figcaption></figure>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.<a href="#cite_note-:7-21">[21]</a> The term secousse evolved over time, transitioning to soucousses and eventually soucous in <a href="/wiki/Colloquialism" title="Colloquialism">colloquial language</a> and the media, until the "c" fell out of favor, replaced by a "k".<a href="#cite_note-:7-21">[21]</a> 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 <a href="/wiki/Motif_(music)" title="Motif (music)">motif</a>. The drummer shifts to the high-octane cadence, wherein the <a href="/wiki/Clave_(rhythm)" title="Clave (rhythm)">clave rhythm</a> shifts to the <a href="/wiki/Snare_drum" title="Snare drum">snare drum</a>, singers engage in rhythmic chanting (<a href="/wiki/Animation" title="Animation">animation</a>), and lead guitars take center stage.<a href="#cite_note-:8-22">[22]</a><a href="#cite_note-:0-2">[2]</a><a href="#cite_note-:13-23">[23]</a><a href="#cite_note-:6-24">[24]</a> <style data-mw-deduplicate="TemplateStyles:r1237032888/mw-parser-output/.tmulti">.mw-parser-output .tmulti .multiimageinner{display:flex;flex-direction:column}.mw-parser-output .tmulti .trow{display:flex;flex-direction:row;clear:left;flex-wrap:wrap;width:100%;box-sizing:border-box}.mw-parser-output .tmulti .tsingle{margin:1px;float:left}.mw-parser-output .tmulti .theader{clear:both;font-weight:bold;text-align:center;align-self:center;background-color:transparent;width:100%}.mw-parser-output .tmulti .thumbcaption{background-color:transparent}.mw-parser-output .tmulti .text-align-left{text-align:left}.mw-parser-output .tmulti .text-align-right{text-align:right}.mw-parser-output .tmulti .text-align-center{text-align:center}@media all and (max-width:720px){.mw-parser-output .tmulti .thumbinner{width:100%!important;box-sizing:border-box;max-width:none!important;align-items:center}.mw-parser-output .tmulti .trow{justify-content:center}.mw-parser-output .tmulti .tsingle{float:none!important;max-width:100%!important;box-sizing:border-box;text-align:center}.mw-parser-output .tmulti .tsingle .thumbcaption{text-align:left}.mw-parser-output .tmulti .trow>.thumbcaption{text-align:center}}@media screen{html.skin-theme-clientpref-night .mw-parser-output .tmulti .multiimageinner img{background-color:white}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .tmulti .multiimageinner img{background-color:white}}</style><div class="thumb tmulti tright"><div class="thumbinner multiimageinner" style="width:272px;max-width:272px"><div class="trow"><div class="tsingle" style="width:139px;max-width:139px"><div class="thumbimage" style="height:197px;overflow:hidden"><a href="/wiki/File:Franco_Luambo_Makiadi.jpg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/3/30/Franco_Luambo_Makiadi.jpg/137px-Franco_Luambo_Makiadi.jpg" decoding="async" width="137" height="197" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/3/30/Franco_Luambo_Makiadi.jpg 1.5x" data-file-width="171" data-file-height="246" /></a></div></div><div class="tsingle" style="width:129px;max-width:129px"><div class="thumbimage" style="height:197px;overflow:hidden"><a href="/wiki/File:Docteur_Nico.jpg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a2/Docteur_Nico.jpg/127px-Docteur_Nico.jpg" decoding="async" width="127" height="198" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/a2/Docteur_Nico.jpg/191px-Docteur_Nico.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/a2/Docteur_Nico.jpg/254px-Docteur_Nico.jpg 2x" data-file-width="643" data-file-height="1004" /></a></div></div></div><div class="trow" style="display:flex"><div class="thumbcaption"><a href="/wiki/Franco_Luambo" title="Franco Luambo">Franco Luambo</a> (left) and <a href="/wiki/Nico_Kasanda" title="Nico Kasanda">Dr. Nico Kasanda</a> (right) are often credited as pioneers of soukous</div></div></div></div> The origins of soukous are a matter of dispute, with divergent attributions and viewpoints. Clément Ossinondé, a Congolese musicologist specializing in Congolese music, accredits <a href="/wiki/Franco_Luambo" title="Franco Luambo">Franco Luambo</a> and <a href="/wiki/TPOK_Jazz" title="TPOK Jazz">TPOK Jazz</a> with pioneering soukous, citing his odemba-inspired style, known for its fast tempo.<a href="#cite_note-:22-25">[25]</a> Franco is also recognized for revolutionizing the genre's themes by infusing significant <a href="/wiki/Social_issue" title="Social issue">social</a> and <a href="/wiki/Political_issue" class="mw-redirect" title="Political issue">political</a> issues into the lyrics, making the music a platform for <a href="/wiki/Social_consciousness" title="Social consciousness">social consciousness</a>.<a href="#cite_note-:8-22">[22]</a><a href="#cite_note-:0-2">[2]</a><a href="#cite_note-:13-23">[23]</a><a href="#cite_note-:6-24">[24]</a> 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.<a href="#cite_note-:14-26">[26]</a><a href="#cite_note-27">[27]</a> 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.<a href="#cite_note-:14-26">[26]</a> Stewart further notes that Orchestre Sinza innovated soukous in 1968 with a new wrinkle called mossaka, and soon thereafter, <a href="/wiki/Nico_Kasanda" title="Nico Kasanda">Nico Kasanda</a> introduced the kiri-kiri, which was based in part on the "jerk" from <a href="/wiki/Rock_music" title="Rock music">Western rock</a>.<a href="#cite_note-:14-26">[26]</a> 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, gaining widespread acclaim.<a href="#cite_note-:14-26">[26]</a> Established artists rapidly embraced the dance and disseminated it across the continent.<a href="#cite_note-:28-8">[8]</a> <div class="mw-heading mw-heading3"><h3 id="1960s_and_1970s">1960s and 1970s</h3>[<a href="/w/index.php?title=Soukous&action=edit&section=5" title="Edit section: 1960s and 1970s">edit</a>]</div> <div class="mw-heading mw-heading4"><h4 id="Europe_and_the_United_States">Europe and the United States</h4>[<a href="/w/index.php?title=Soukous&action=edit&section=6" title="Edit section: Europe and the United States">edit</a>]</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Rochereau_performing_at_Paris_Olympia.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/6/61/Rochereau_performing_at_Paris_Olympia.jpg/220px-Rochereau_performing_at_Paris_Olympia.jpg" decoding="async" width="220" height="172" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/61/Rochereau_performing_at_Paris_Olympia.jpg/330px-Rochereau_performing_at_Paris_Olympia.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/6/61/Rochereau_performing_at_Paris_Olympia.jpg 2x" data-file-width="351" data-file-height="275" /></a><figcaption><a href="/wiki/Tabu_Ley_Rochereau" title="Tabu Ley Rochereau">Tabu Ley Rochereau</a> performing at the <a href="/wiki/Paris_Olympia" class="mw-redirect" title="Paris Olympia">Paris Olympia</a> in 1970</figcaption></figure> 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.<a href="#cite_note-:1-28">[28]</a><a href="#cite_note-29">[29]</a> During this period, a surge of Zairean musicians moved to Belgium and France, primarily driven by the hegemony of the <a href="/wiki/Mobutu_Sese_Seko" title="Mobutu Sese Seko">Mobutu Sese Seko</a> regime, which propagated propaganda songs as part of the <a href="/wiki/Authenticit%C3%A9_(Zaire)" title="Authenticité (Zaire)">Authenticité</a> campaign to foster a sense of national identity and pride through ideological slogans of the <a href="/wiki/One-party_state" title="One-party state">one-party state</a>, the <a href="/wiki/Popular_Movement_of_the_Revolution" title="Popular Movement of the Revolution">Movement Populaire de la Révolution</a> (MPR).<a href="#cite_note-30">[30]</a><a href="#cite_note-:15-31">[31]</a><a href="#cite_note-32">[32]</a> This <a href="/wiki/Ideocracy" title="Ideocracy">state ideological</a> 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 <a href="/wiki/Mao_Zedong" title="Mao Zedong">Mao Zedong</a>'s approach in <a href="/wiki/China" title="China">China</a>, where music served the revolution.<a href="#cite_note-:19-33">[33]</a><a href="#cite_note-:15-31">[31]</a><a href="#cite_note-34">[34]</a> As a result, the <a href="/wiki/Globalization" title="Globalization">globalization</a> of Congolese urban music expanded, leading to a massive exodus of musicians to African and European countries, most notably <a href="/wiki/Belgium" title="Belgium">Belgium</a> and <a href="/wiki/France" title="France">France</a>.<a href="#cite_note-:19-33">[33]</a><a href="#cite_note-:26-35">[35]</a> 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.<a href="#cite_note-:2-15">[15]</a><a href="#cite_note-36">[36]</a><a href="#cite_note-:1-28">[28]</a> Against this backdrop, <a href="/wiki/Tabu_Ley_Rochereau" title="Tabu Ley Rochereau">Tabu Ley Rochereau</a> made history as the first African artist invited to perform at Paris's <a href="/wiki/Olympia_(Paris)" title="Olympia (Paris)">Olympia Hall</a> in December 1970, where he attracted few connoisseurs and set a precedent for subsequent Zairean musicians.<a href="#cite_note-:1-28">[28]</a><a href="#cite_note-37">[37]</a><a href="#cite_note-38">[38]</a><a href="#cite_note-39">[39]</a> <a href="/wiki/Abeti_Masikini" title="Abeti Masikini">Abeti Masikini</a> followed suit, becoming the second Zairean and the first female soukous artist to grace the Olympia stage alongside <a href="/wiki/Mireille_Mathieu" title="Mireille Mathieu">Mireille Mathieu</a> and <a href="/wiki/Hugues_Aufray" title="Hugues Aufray">Hugues Aufray</a>.<a href="#cite_note-:24-40">[40]</a><a href="#cite_note-:52-41">[41]</a><a href="#cite_note-42">[42]</a> This momentum continued with Masikini's performance at <a href="/wiki/Carnegie_Hall" title="Carnegie Hall">Carnegie Hall</a> in New York on 11 March 1974, setting the stage for burgeoning singers, <a href="/wiki/Griot" title="Griot">griots</a>, and other lesser-known divas from Africa.<a href="#cite_note-:1-28">[28]</a><a href="#cite_note-:25-43">[43]</a> Concurrently, the M'Bamina orchestra ventured to Paris before seeking audiences in <a href="/wiki/Italy" title="Italy">Italy</a> in 1972.<a href="#cite_note-:1-28">[28]</a> Pablo 'Porthos' Lubadika arrived in Paris in 1979 with singer <a href="/wiki/Sam_Mangwana" title="Sam Mangwana">Sam Mangwana</a> through <a href="/wiki/Lom%C3%A9" title="Lomé">Lomé</a>, Togo, after recording under the name the African All Stars. Mangwana, having collaborated with nearly every prominent figure in Congo, relocated to <a href="/wiki/Abidjan" title="Abidjan">Abidjan</a> in 1978 to pursue better opportunities. He formed a new band of Congolese economic exiles, who became regulars in Parisian session bands.<a href="#cite_note-:28-8">[8]</a> The African All Stars' breakout hit, "Suzana Coulibaly," released on 31 December 1979, featured "simple, repetitive rhythms" at a faster tempo than traditional Congolese rumba.<a href="#cite_note-:28-8">[8]</a> Mangwana's exclamation "soukous sophistiqué" as Lokassa Ya M'Bongo and <a href="/wiki/Rigo_Star" title="Rigo Star">Rigo Star</a> crafted a "rock-solid" sebene solidified the record's direction, initiating an independent musical movement targeting the international market. As their influence grew, the African All Stars adapted the fast, rough stylings of youth bands in Brazzaville and Kinshasa, introducing this new tempo globally.<a href="#cite_note-:28-8">[8]</a> <div class="mw-heading mw-heading4"><h4 id="Africa">Africa</h4>[<a href="/w/index.php?title=Soukous&action=edit&section=7" title="Edit section: Africa">edit</a>]</div> Across Africa, soukous dominated <a href="/wiki/East_Africa" title="East Africa">East African</a> nightclubs' dance floors and played a pivotal role in shaping virtually all the styles of contemporary <a href="/wiki/African_popular_music" title="African popular music">African popular music</a>, including <a href="/wiki/Benga_music" title="Benga music">benga music</a>, <a href="/wiki/Muziki_wa_dansi" title="Muziki wa dansi">muziki wa dansi</a>, <a href="/wiki/Kidandali" title="Kidandali">Kidandali</a>, <a href="/wiki/Igbo_highlife" title="Igbo highlife">Igbo highlife</a>, <a href="/wiki/Palm-wine_music" title="Palm-wine music">palm-wine music</a>, <a href="/wiki/Taarab" title="Taarab">taarab</a>, and inspiring the establishment of approximately 350 youth orchestras in Kinshasa, paving the way for new traditional dances, rhythmic patterns, and bands.<a href="#cite_note-:12-44">[44]</a><a href="#cite_note-45">[45]</a><a href="#cite_note-:6-24">[24]</a><a href="#cite_note-46">[46]</a> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Congolese_band_Za%C3%AFko_Langa_Langa_in_1971.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/56/Congolese_band_Za%C3%AFko_Langa_Langa_in_1971.jpg/187px-Congolese_band_Za%C3%AFko_Langa_Langa_in_1971.jpg" decoding="async" width="187" height="139" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/56/Congolese_band_Za%C3%AFko_Langa_Langa_in_1971.jpg/281px-Congolese_band_Za%C3%AFko_Langa_Langa_in_1971.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/56/Congolese_band_Za%C3%AFko_Langa_Langa_in_1971.jpg/374px-Congolese_band_Za%C3%AFko_Langa_Langa_in_1971.jpg 2x" data-file-width="537" data-file-height="400" /></a><figcaption><a href="/wiki/Za%C3%AFko_Langa_Langa" title="Zaïko Langa Langa">Zaïko Langa Langa</a> performing in 1971. From left to right: Beaudoin Mitsho, Meridjo Belobi (behind), Enoch Zamuangana (behind), Teddy Sukami, <a href="/wiki/Papa_Wemba" title="Papa Wemba">Papa Wemba</a>, Damien Ndebo (behind), <a href="/wiki/Evoloko_Jocker" title="Evoloko Jocker">Evoloko Jocker</a>, <a href="/wiki/F%C3%A9lix_Manuaku_Waku" title="Félix Manuaku Waku">Félix Manuaku Waku</a></figcaption></figure> As sociopolitical turmoil in Zaire deteriorated in the 1970s, a great number of musicians ventured to <a href="/wiki/Tanzania" title="Tanzania">Tanzania</a>, <a href="/wiki/Kenya" title="Kenya">Kenya</a> and <a href="/wiki/Uganda" title="Uganda">Uganda</a>, 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.<a href="#cite_note-:11-47">[47]</a><a href="#cite_note-:23-48">[48]</a><a href="#cite_note-49">[49]</a><a href="#cite_note-:73-50">[50]</a><a href="#cite_note-:84-51">[51]</a> The vivacious <a href="/wiki/Cavacha" title="Cavacha">cavacha</a> dance craze, propagated by bands like <a href="/wiki/Za%C3%AFko_Langa_Langa" title="Zaïko Langa Langa">Zaïko Langa Langa</a> and Orchestra Shama Shama, swept across East and <a href="/wiki/Central_Africa" title="Central Africa">Central Africa</a>, exert influence on Kenyan musicians.<a href="#cite_note-52">[52]</a><a href="#cite_note-:29-53">[53]</a> The utilization of the cavacha rhythm, typically played on the <a href="/wiki/Snare_drum" title="Snare drum">snare drum</a> or <a href="/wiki/Hi-hat" title="Hi-hat">high-hat</a>, became emblematic of the Zairean sound in <a href="/wiki/Nairobi" title="Nairobi">Nairobi</a> and was frequently adopted by regional bands. Prominent Congolese rumba <a href="/wiki/Swahili_language" title="Swahili language">Swahili</a> bands in Nairobi formed around <a href="/wiki/Tanzania" title="Tanzania">Tanzanian</a> groups like <a href="/wiki/Simba_Wanyika" title="Simba Wanyika">Simba Wanyika</a>, giving rise to offshoots like <a href="/wiki/Les_Wanyika" title="Les Wanyika">Les Wanyika</a> and Super Wanyika Stars.<a href="#cite_note-:12-44">[44]</a><a href="#cite_note-:32-54">[54]</a><a href="#cite_note-:23-48">[48]</a> <a href="/wiki/Maroon_Commandos" title="Maroon Commandos">Maroon Commandos</a>, a Nairobi-based ensemble, assimilated the soukous style while infusing their distinctive artistic imprint. <a href="/wiki/Japanese_people" title="Japanese people">Japanese</a> students in Kenya, including Rio Nakagawa, developed a fondness for Congolese music, with Rio eventually spearheading Yoka Choc Nippon, a Japanese-conceived Congolese rumba band.<a href="#cite_note-:10-55">[55]</a> <figure class="mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:A_posture_of_Pepe_Kalle_in_1978.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d1/A_posture_of_Pepe_Kalle_in_1978.jpg/195px-A_posture_of_Pepe_Kalle_in_1978.jpg" decoding="async" width="195" height="294" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d1/A_posture_of_Pepe_Kalle_in_1978.jpg/293px-A_posture_of_Pepe_Kalle_in_1978.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d1/A_posture_of_Pepe_Kalle_in_1978.jpg/391px-A_posture_of_Pepe_Kalle_in_1978.jpg 2x" data-file-width="1064" data-file-height="1600" /></a><figcaption>A posture of <a href="/wiki/P%C3%A9p%C3%A9_Kall%C3%A9" title="Pépé Kallé">Pépé Kallé</a> in 1978</figcaption></figure> <figure typeof="mw:File/Thumb"><a href="/wiki/File:Gaby_Lita_Bembo_jouant_du_piano_%C3%A0_la_fin_des_ann%C3%A9es_1970.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/37/Gaby_Lita_Bembo_jouant_du_piano_%C3%A0_la_fin_des_ann%C3%A9es_1970.jpg/190px-Gaby_Lita_Bembo_jouant_du_piano_%C3%A0_la_fin_des_ann%C3%A9es_1970.jpg" decoding="async" width="190" height="198" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/37/Gaby_Lita_Bembo_jouant_du_piano_%C3%A0_la_fin_des_ann%C3%A9es_1970.jpg/285px-Gaby_Lita_Bembo_jouant_du_piano_%C3%A0_la_fin_des_ann%C3%A9es_1970.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/37/Gaby_Lita_Bembo_jouant_du_piano_%C3%A0_la_fin_des_ann%C3%A9es_1970.jpg/380px-Gaby_Lita_Bembo_jouant_du_piano_%C3%A0_la_fin_des_ann%C3%A9es_1970.jpg 2x" data-file-width="993" data-file-height="1036" /></a><figcaption><a href="/wiki/Orchestre_Stukas" title="Orchestre Stukas">Gaby Lita Bembo</a> playing piano in the 1970s</figcaption></figure> Virgin Records produced albums by the Tanzanian-Zairean <a href="/wiki/Orchestra_Makassy" title="Orchestra Makassy">Orchestra Makassy</a> and the Kenya-based <a href="/wiki/Orchestra_Super_Mazembe" title="Orchestra Super Mazembe">Orchestra Super Mazembe</a>. The Swahili song "Shauri Yako" ("It's your problem") gained widespread acclaim in Kenya, Tanzania, and Uganda. Another influential Zairean ensemble, <a href="/wiki/Les_Mangelepa" title="Les Mangelepa">Les Mangelepa</a>, relocated to Kenya and achieved immense popularity across East Africa. Zairean singer <a href="/wiki/Samba_Mapangala" title="Samba Mapangala">Samba Mapangala</a> and his band Orchestra Virunga, based in Nairobi, released the <a href="/wiki/LP_record" title="LP record">LP</a> Malako, which became a pioneering release in Europe's emerging world music scene.<a href="#cite_note-:29-53">[53]</a><a href="#cite_note-56">[56]</a><a href="#cite_note-57">[57]</a><a href="#cite_note-58">[58]</a> Meanwhile, between 1976 and 1977, <a href="/wiki/Sam_Mangwana" title="Sam Mangwana">Sam Mangwana</a> and the African All Stars dominated the dance halls of Kinshasa with records produced in <a href="/wiki/West_Africa" title="West Africa">West Africa</a>, which were different from the sounds produced in the two-track studios of Kinshasa. Following this, there was a migration to <a href="/wiki/Lom%C3%A9" title="Lomé">Lomé</a> and <a href="/wiki/Cotonou" title="Cotonou">Cotonou</a>, followed by Franco Luambo's departure to Belgium.<a href="#cite_note-:1-28">[28]</a> In <a href="/wiki/Nigeria" title="Nigeria">Nigeria</a>, 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).<a href="#cite_note-:18-59">[59]</a><a href="#cite_note-60">[60]</a> Soukous catalyzed the emergence of a distinct genre of guitar-based <a href="/wiki/Igbo_highlife" title="Igbo highlife">Igbo highlife</a> music, exemplified by musicians like <a href="/wiki/Oliver_De_Coque" title="Oliver De Coque">Oliver De Coque</a>, the <a href="/wiki/Oriental_Brothers_International" title="Oriental Brothers International">Oriental Brothers International</a>, and their various imitators and followers.<a href="#cite_note-:18-59">[59]</a><a href="#cite_note-61">[61]</a><a href="#cite_note-62">[62]</a><a href="#cite_note-63">[63]</a> 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 <a href="/wiki/Verckys_Kiamuangana_Mateta" title="Verckys Kiamuangana Mateta">Verckys Kiamuangana Mateta</a>'s stable like Orchestre Kiam, Orchestre Lipua-Lipua, and the cavacha rhythm.<a href="#cite_note-:18-59">[59]</a> There was a prevalent inclination to exclude the slower "A" sides of various recordings and instead focus on the climactic <a href="/wiki/Sebene" title="Sebene">sebene</a>, the faster and more improvisational <a href="/wiki/Half-time_(music)" title="Half-time (music)">second half</a>.<a href="#cite_note-:18-59">[59]</a> This structural paradigm became emblematic of Igbo guitar highlife recordings epitomized by the music style of Oliver De Coque and Oriental Brothers International.<a href="#cite_note-:18-59">[59]</a> Soukous experienced widespread diffusion across <a href="/wiki/Southern_Africa" title="Southern Africa">southern Africa</a>, where it was both adopted and adapted into various offshoots, such as <a href="/wiki/Zimbabwe" title="Zimbabwe">Zimbabwe</a>'s immensely popular sungura genre.<a href="#cite_note-64">[64]</a> <div class="mw-heading mw-heading4"><h4 id="Colombia">Colombia</h4>[<a href="/w/index.php?title=Soukous&action=edit&section=8" title="Edit section: Colombia">edit</a>]</div> During this epoch, African music began procuring popularity globally due to the world music movement. In <a href="/wiki/Colombia" title="Colombia">Colombia</a>, soukous made inroads into the local culture, contributing to the development of <a href="/wiki/Champeta" title="Champeta">champeta</a>.<a href="#cite_note-65">[65]</a><a href="#cite_note-66">[66]</a> In the third chapter of the documentary Pasos de la Cumbia, Lucas Silva, a DJ and cultural producer specializing in African music, recounts how <a href="/wiki/Mobutu_Sese_Seko" title="Mobutu Sese Seko">Mobutu Sese Seko</a> purchased a plane in Colombia.<a href="#cite_note-:30-67">[67]</a><a href="#cite_note-68">[68]</a> When it required maintenance, a Colombian mechanic traveled to Zaire, returning with a collection of 45 rpm records, including the iconic El Mambote by l'Orchestre Veve, which became a hit.<a href="#cite_note-:30-67">[67]</a><a href="#cite_note-:84-51">[51]</a> Other 45 rpm records soon flooded <a href="/wiki/Cartagena,_Colombia" title="Cartagena, Colombia">Cartagena</a> and <a href="/wiki/Barranquilla" title="Barranquilla">Barranquilla</a>.<a href="#cite_note-:30-67">[67]</a> In the article "Champeta is Liberation": The Indestructible Sound System Culture of Afro-Colombia, journalist April Clare Welsh observes, "When 'música Africana' swept the region during the '70s and '80s, sound systems were instrumental in forging a collective diasporic identity for <a href="/wiki/Afro-Colombians" title="Afro-Colombians">Afro-Colombians</a> in a society deeply divided by race and class".<a href="#cite_note-69">[69]</a> African musicians like <a href="/wiki/Kanda_Bongo_Man" title="Kanda Bongo Man">Kanda Bongo Man</a>, <a href="/wiki/Nico_Kasanda" title="Nico Kasanda">Nicolas Kasanda wa Mikalay</a>, <a href="/wiki/Diblo_Dibala" title="Diblo Dibala">Diblo Dibala</a>, Ikenga Super Stars of Africa, <a href="/wiki/M%27bilia_Bel" title="M'bilia Bel">M'bilia Bel</a>, and <a href="/wiki/Mahlathini" title="Mahlathini">Mahlathini</a> and the <a href="/wiki/Mahotella_Queens" title="Mahotella Queens">Mahotella Queens</a> became local celebrities, forging a "pan-African connection that was, at the time, largely unknown to many Africans within the continent".<a href="#cite_note-:30-67">[67]</a> Local musicians began replicating the arrangements of Congolese artists like Nicolas Kasanda wa Mikalay, <a href="/wiki/Tabu_Ley_Rochereau" title="Tabu Ley Rochereau">Tabu Ley Rochereau</a>, M'bilia Bel, <a href="/wiki/Syran_Mbenza" title="Syran Mbenza">Syran Mbenza</a>, Lokassa Ya M'Bongo, <a href="/wiki/P%C3%A9p%C3%A9_Kall%C3%A9" title="Pépé Kallé">Pépé Kallé</a>, Rémy Sahlomon, and Kanda Bongo Man.<a href="#cite_note-:73-50">[50]</a><a href="#cite_note-:9-70">[70]</a><a href="#cite_note-:84-51">[51]</a> Homegrown musicians such as Viviano Torres, Luis Towers, and Charles King became renowned for this.<a href="#cite_note-:73-50">[50]</a> This movement led to the creation of champeta, a genre rooted in "soukous guitars, bass, drumming, and dance".<a href="#cite_note-:30-67">[67]</a> Due to its overtly sensual dance moves and its association with the "Black Below", champeta was derided by the <a href="/wiki/White_Colombians" title="White Colombians">white</a> <a href="/wiki/Social_class_in_Colombia" title="Social class in Colombia">upper classes</a>.<a href="#cite_note-:30-67">[67]</a> However, for Afro-Colombians, it was an assertion of their cultural identity and resilience.<a href="#cite_note-:30-67">[67]</a> DJs often renamed African songs with Spanish titles, composed champetas in the <a href="/wiki/Palenquero" title="Palenquero">Palenque</a> language (a creole fusion of Spanish and <a href="/wiki/Bantu_languages" title="Bantu languages">Bantu languages</a> such as <a href="/wiki/Kongo_language" title="Kongo language">Kikongo</a> and <a href="/wiki/Lingala" title="Lingala">Lingala</a>), or phonetically distorted the original names.<a href="#cite_note-:30-67">[67]</a> For instance, Mbilia Bel's "Mobali Na Ngai Wana" became known in Colombia as "La Bollona". Champeta emerged as a new marker of Black identity along Colombia's western coast and evolved from a peripheral genre to a mainstream national phenomenon.<a href="#cite_note-:30-67">[67]</a> During the <a href="/wiki/Super_Bowl_LIV_halftime_show" title="Super Bowl LIV halftime show">Super Bowl LIV halftime show</a> on 2 February 2020, at <a href="/wiki/Hard_Rock_Stadium" title="Hard Rock Stadium">Hard Rock Stadium</a> in Miami Gardens, Florida, <a href="/wiki/Shakira" title="Shakira">Shakira</a> danced to Syran Mbenza's "Icha", a song colloquially referred to as "El Sebastián" in Colombia, which spawned the #ChampetaChallenge on social media platforms worldwide.<a href="#cite_note-:102-71">[71]</a><a href="#cite_note-72">[72]</a> <div class="mw-heading mw-heading3"><h3 id="1980s_and_the_Paris_scene">1980s and the Paris scene</h3>[<a href="/w/index.php?title=Soukous&action=edit&section=9" title="Edit section: 1980s and the Paris scene">edit</a>]</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Papa_Wemba_and_Koffi_Olomide,_1988.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/0d/Papa_Wemba_and_Koffi_Olomide%2C_1988.jpg/220px-Papa_Wemba_and_Koffi_Olomide%2C_1988.jpg" decoding="async" width="220" height="145" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/0d/Papa_Wemba_and_Koffi_Olomide%2C_1988.jpg/330px-Papa_Wemba_and_Koffi_Olomide%2C_1988.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/0d/Papa_Wemba_and_Koffi_Olomide%2C_1988.jpg/440px-Papa_Wemba_and_Koffi_Olomide%2C_1988.jpg 2x" data-file-width="956" data-file-height="630" /></a><figcaption><a href="/wiki/Koffi_Olomide" title="Koffi Olomide">Koffi Olomidé</a> and <a href="/wiki/Papa_Wemba" title="Papa Wemba">Papa Wemba</a>, 1988</figcaption></figure> 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.<a href="#cite_note-:112-73">[73]</a><a href="#cite_note-:232-74">[74]</a><a href="#cite_note-75">[75]</a><a href="#cite_note-:732-76">[76]</a><a href="#cite_note-:842-77">[77]</a> Soukous gained traction in Brussels, Paris, and London, emerging as the only sub-Saharan African genre universally embraced in Belgium and France.<a href="#cite_note-78">[78]</a> According to Congolese columnist <a href="https://fr.wikipedia.org/wiki/Achille_Ngoye" class="extiw" title="fr:Achille Ngoye">Achille Ngoye</a>, Belgium offered a significant permanent operational base for numerous Zairean artists.<a href="#cite_note-:1-28">[28]</a> Orchestras such as Los Nickelos, Yéyé National, and Les Mongali, predominantly composed of students, garnered significant attention in Belgium.<a href="#cite_note-:1-28">[28]</a><a href="#cite_note-79">[79]</a><a href="#cite_note-80">[80]</a> Uncle Yorgho, a former member of <a href="/wiki/TPOK_Jazz" title="TPOK Jazz">OK Jazz</a>, established a distribution epicenter for Zairean musical repertoire in Brussels in July 1980 (Visa 80).<a href="#cite_note-:1-28">[28]</a> Meanwhile, <a href="/wiki/Dieudonn%C3%A9_Kabongo" title="Dieudonné Kabongo">Dieudonné Kabongo</a>, Dizzy Mandjeku, and <a href="/wiki/Ntesa_Dalienst" title="Ntesa Dalienst">Ntesa Dalienst</a> rose to prominence due to the bankruptcy of Belgian record label Fonior!, which prompted many Zairean artists like <a href="/wiki/Orchestre_Stukas" title="Orchestre Stukas">Lita Bembo</a> and Matima to seek reputable distribution entities in Belgium, while others found solace in performing in religious choirs, which frequently toured <a href="/wiki/Holland" title="Holland">Holland</a>.<a href="#cite_note-:1-28">[28]</a> <figure class="mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Nyboma,_1973.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d1/Nyboma%2C_1973.jpg/218px-Nyboma%2C_1973.jpg" decoding="async" width="218" height="188" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d1/Nyboma%2C_1973.jpg/327px-Nyboma%2C_1973.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d1/Nyboma%2C_1973.jpg/436px-Nyboma%2C_1973.jpg 2x" data-file-width="1284" data-file-height="1109" /></a><figcaption><a href="/wiki/Nyboma" title="Nyboma">Nyboma</a> in 1973</figcaption></figure> Soukous was chosen by <a href="/wiki/Island_Records" title="Island Records">Island Records</a> producer <a href="/wiki/Ben_Mandelson" title="Ben Mandelson">Ben Mandelson</a> and Togolese entrepreneur Richard Dick as the title of a 1982 compilation, Sound D'Afrique II: Soukous. The compilation included music from <a href="/wiki/Mali" title="Mali">Mali</a> and <a href="/wiki/Cameroon" title="Cameroon">Cameroon</a> alongside "Madeleina," a track from Pablo 'Porthos' Lubadika's 1981 album Ma Coco, which gained significant attention in Europe.<a href="#cite_note-:28-8">[8]</a> Zaïko Langa Langa introduced the role of a dedicated hypeman—known as <a href="/wiki/Atalaku" title="Atalaku">atalaku</a> or <a href="/wiki/Animateur" title="Animateur">animateur</a>—into the ensemble of singers, setting a trend that almost every band on the Congolese music scene adopted, making atalakus emblematic of soukous as well as Congolese rumba.<a href="#cite_note-:28-8">[8]</a> Zaïko Langa Langa achieved significant success, becoming the third generation of Congolese music as many founding members split off to form their own groups, which in turn splintered into more groups: <a href="/wiki/Isifi_Lokole" title="Isifi Lokole">Isife Lokole</a>, Grand Zaïko Wa Wa, <a href="/wiki/Langa_Langa_Stars" title="Langa Langa Stars">Langa Langa Stars</a>, Clan Langa Langa, <a href="/wiki/Choc_Stars" title="Choc Stars">Choc Stars</a>, and Anti-Choc among them.<a href="#cite_note-:28-8">[8]</a><a href="#cite_note-81">[81]</a> <a href="/wiki/Papa_Wemba" title="Papa Wemba">Papa Wemba</a> and <a href="/wiki/Viva_La_Musica" title="Viva La Musica">Viva La Musica</a> made the longest-lasting impact, partly due to Wemba's ability to maintain a presence in both Paris and Kinshasa with dual bands, one focusing on soukous and another featuring French session players for international pop. In Parisian studios, the seben guitars blended with the tight drum machines and synths of <a href="/wiki/Zouk" title="Zouk">zouk</a> and funky disco <a href="/wiki/Makossa" title="Makossa">makossa</a> on numerous records.<a href="#cite_note-:28-8">[8]</a><a href="#cite_note-:16-82">[82]</a><a href="#cite_note-:17-83">[83]</a> However, this fusion received criticism for deviating from authentic Congolese styles. Notable critics like <a href="/wiki/Nyboma" title="Nyboma">Nyboma</a> argued that the music had become commercialized and lacked emotional depth, calling for a return to the fundamentals of "beautiful melodies and highly tuned voices."<a href="#cite_note-Stewart-84">[84]</a>: 384–385 <a href="#cite_note-Afropop-85">[85]</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1237032888/mw-parser-output/.tmulti"><div class="thumb tmulti tright"><div class="thumbinner multiimageinner" style="width:442px;max-width:442px"><div class="trow"><div class="tsingle" style="width:205px;max-width:205px"><div class="thumbimage" style="height:134px;overflow:hidden"><a href="/wiki/File:Le_groupe_Loketo.jpg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/1/15/Le_groupe_Loketo.jpg/203px-Le_groupe_Loketo.jpg" decoding="async" width="203" height="134" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/15/Le_groupe_Loketo.jpg/305px-Le_groupe_Loketo.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/15/Le_groupe_Loketo.jpg/406px-Le_groupe_Loketo.jpg 2x" data-file-width="1799" data-file-height="1188" /></a></div></div><div class="tsingle" style="width:233px;max-width:233px"><div class="thumbimage" style="height:134px;overflow:hidden"><a href="/wiki/File:Le_groupe_Loketo_en_concert,_en_1986.jpg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/5/52/Le_groupe_Loketo_en_concert%2C_en_1986.jpg/231px-Le_groupe_Loketo_en_concert%2C_en_1986.jpg" decoding="async" width="231" height="134" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/52/Le_groupe_Loketo_en_concert%2C_en_1986.jpg/347px-Le_groupe_Loketo_en_concert%2C_en_1986.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/52/Le_groupe_Loketo_en_concert%2C_en_1986.jpg/462px-Le_groupe_Loketo_en_concert%2C_en_1986.jpg 2x" data-file-width="1487" data-file-height="864" /></a></div></div></div><div class="trow" style="display:flow-root"><div class="thumbcaption" style="text-align:center">The Loketo group, established by <a href="/wiki/Aurlus_Mab%C3%A9l%C3%A9" title="Aurlus Mabélé">Aurlus Mabélé</a> and <a href="/wiki/Diblo_Dibala" title="Diblo Dibala">Diblo Dibala</a>, emerged as a prominent soukous band during the 1980s and 1990s.</div></div></div></div> 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 <a href="/wiki/Electronic_musical_instrument" title="Electronic musical instrument">electronic instruments</a>. 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.<a href="#cite_note-:16-82">[82]</a><a href="#cite_note-:1-28">[28]</a><a href="#cite_note-:17-83">[83]</a> A sizable Zairean community established itself in France and <a href="/wiki/Switzerland" title="Switzerland">Switzerland</a>, with Zairean artists conducting training programs in the country.<a href="#cite_note-:1-28">[28]</a> <a href="/wiki/Kanda_Bongo_Man" title="Kanda Bongo Man">Kanda Bongo Man</a>, another Paris-based artist, pioneered fast, short tracks conducive for play on dance floors worldwide, popularly known as <a href="/wiki/Kwassa_kwassa" title="Kwassa kwassa">kwassa kwassa</a>, 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 <a href="/wiki/Diblo_Dibala" title="Diblo Dibala">Diblo Dibala</a>, <a href="/wiki/Aurlus_Mab%C3%A9l%C3%A9" title="Aurlus Mabélé">Aurlus Mabélé</a>, Tchicl Tchicaya, Jeannot Bel Musumbu, <a href="/wiki/M%27bilia_Bel" title="M'bilia Bel">M'bilia Bel</a>, <a href="/wiki/Yondo_Sister" title="Yondo Sister">Yondo Sister</a>, Tinderwet, <a href="/wiki/Loketo" class="mw-redirect" title="Loketo">Loketo</a>, Rigo Star, Nyboma, <a href="/wiki/Madilu_System" title="Madilu System">Madilu System</a>, Soukous Stars and veterans like <a href="/wiki/P%C3%A9p%C3%A9_Kall%C3%A9" title="Pépé Kallé">Pépé Kallé</a> and <a href="/wiki/Koffi_Olomide" title="Koffi Olomide">Koffi Olomidé</a> 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.<a href="#cite_note-:11-47">[47]</a><a href="#cite_note-Kanda_Bongo_Man_dances_a_new_dance-86">[86]</a><a href="#cite_note-:29-53">[53]</a> Diblo Dibala and Aurlus Mabélé dominated the clubs with "Africa Moussou", creating a hyperactive style of super-speed soukous, dubbed TGV soukous by fans, alluding to France's high-speed trains.<a href="#cite_note-:28-8">[8]</a> Swede-Swede, an ensemble exclusively employing traditional instruments, operates out of Belgium, while Les Malo, primarily comprising former instructors from the <a href="/wiki/National_Institute_of_Arts,_Kinshasa" title="National Institute of Arts, Kinshasa">National Institute of Arts</a> in Kinshasa, specializes in Afro-jazz in <a href="/wiki/Lyon" title="Lyon">Lyon</a>.<a href="#cite_note-:1-28">[28]</a> <a href="/wiki/Tshala_Muana" title="Tshala Muana">Tshala Muana</a> gained prominence in Africa and Europe for her <a href="/wiki/Luba_people" title="Luba people">Luba</a> traditional hip-swaying dance known as mutuashi, which make waves across African stadiums and earned her the moniker of "Queen of Mutuashi".<a href="#cite_note-:1-28">[28]</a> Other female vocalists such as Déesse Mukangi, Djena Mandako, Faya Tess, Isa, and Abby Surya garnered widespread recognition.<a href="#cite_note-:1-28">[28]</a> <div class="mw-heading mw-heading2"><h2 id="Ndombolo">Ndombolo</h2>[<a href="/w/index.php?title=Soukous&action=edit&section=10" title="Edit section: Ndombolo">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Ndombolo" title="Ndombolo">Ndombolo</a></div> By the late 1990s, musicians such as Radja Kula, <a href="/wiki/Wenge_Musica" title="Wenge Musica">Wenge Musica</a>, <a href="/wiki/Koffi_Olomide" title="Koffi Olomide">Koffi Olomidé</a>, <a href="/wiki/Defao" title="Defao">Général Defao</a>, and <a href="/wiki/Extra_Musica" title="Extra Musica">Extra Musica</a> metamorphosed soukous into raunchy, frenetic hip-swinging dance music, renaming it <a href="/wiki/Ndombolo" title="Ndombolo">ndombolo</a>.<a href="#cite_note-87">[87]</a><a href="#cite_note-88">[88]</a><a href="#cite_note-:42-89">[89]</a><a href="#cite_note-:162-90">[90]</a><a href="#cite_note-Makumeno-91">[91]</a> This style surged in popularity across Africa and into the continent's diaspora in Belgium, France, the UK, Germany, Canada, and the United States.<a href="#cite_note-:43-92">[92]</a><a href="#cite_note-:162-90">[90]</a><a href="#cite_note-Makumeno-91">[91]</a> However, by the early 2000s, ndombolo faced scrutiny, with accusations of <a href="/wiki/Obscenity" title="Obscenity">obscenity</a> leading to attempts to prohibit it from state media in the Democratic Republic of the Congo, <a href="/wiki/Cameroon" title="Cameroon">Cameroon</a>, <a href="/wiki/Senegal" title="Senegal">Senegal</a>, <a href="/wiki/Mali" title="Mali">Mali</a>, and <a href="/wiki/Kenya" title="Kenya">Kenya</a>.<a href="#cite_note-ndb1-93">[93]</a><a href="#cite_note-:72-94">[94]</a><a href="#cite_note-95">[95]</a><a href="#cite_note-:82-96">[96]</a> 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 <a href="/wiki/Werrason" title="Werrason">Werrason</a> from airwaves.<a href="#cite_note-97">[97]</a> Despite the censure, ndombolo record sales surged, remaining popular with new releases dominating discos, bars, and clubs across Africa.<a href="#cite_note-98">[98]</a> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2>[<a href="/w/index.php?title=Soukous&action=edit&section=11" title="Edit section: See also">edit</a>]</div> <ul><li><a href="/wiki/List_of_Soukous_musicians" title="List of Soukous musicians">List of Soukous musicians</a></li> <li><a href="/wiki/List_of_Democratic_Republic_of_the_Congo_musicians" title="List of Democratic Republic of the Congo musicians">List of Democratic Republic of the Congo musicians</a></li> <li><a href="/wiki/Music_of_the_Democratic_Republic_of_the_Congo" title="Music of the Democratic Republic of the Congo">Music of the Democratic Republic of the Congo</a></li> <li><a href="/wiki/Champeta" title="Champeta">Champeta</a></li> <li><a href="/wiki/Calypso_(music)" class="mw-redirect" title="Calypso (music)">Calypso</a></li> <li><a href="/wiki/Marrabenta" title="Marrabenta">Marrabenta</a></li> <li><a href="/wiki/S%C3%A9b%C3%A8ne" class="mw-redirect" title="Sébène">Sébène</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2>[<a href="/w/index.php?title=Soukous&action=edit&section=12" title="Edit section: References">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width" style="column-width: 30em;"> <ol class="references"> <li id="cite_note-encyc1-1"><a href="#cite_ref-encyc1_1-0">^</a> <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFAppiahGates2010" class="citation book cs1">Appiah, Anthony; Gates, Henry Louis (2010). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=A0XNvklcqbwC&pg=RA1-PA407">Encyclopedia of Africa, Volume 1</a>. Oxford, UK: Oxford University Press. pp. 407–408. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780195337709" title="Special:BookSources/9780195337709"><bdi>9780195337709</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Encyclopedia+of+Africa%2C+Volume+1&rft.place=Oxford%2C+UK&rft.pages=407-408&rft.pub=Oxford+University+Press&rft.date=2010&rft.isbn=9780195337709&rft.aulast=Appiah&rft.aufirst=Anthony&rft.au=Gates%2C+Henry+Louis&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DA0XNvklcqbwC%26pg%3DRA1-PA407&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-:0-2">^ <a href="#cite_ref-:0_2-0">a</a> <a href="#cite_ref-:0_2-1">b</a> <a href="#cite_ref-:0_2-2">c</a> <a href="#cite_ref-:0_2-3">d</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAppiahGates_(Jr.)2010" class="citation book cs1">Appiah, Anthony; Gates (Jr.), Henry Louis (2010). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=A0XNvklcqbwC">Encyclopedia of Africa</a>. Oxford, United Kingdom: Oxford University Press. pp. 407–408. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-533770-9" title="Special:BookSources/978-0-19-533770-9"><bdi>978-0-19-533770-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Encyclopedia+of+Africa&rft.place=Oxford%2C+United+Kingdom&rft.pages=407-408&rft.pub=Oxford+University+Press&rft.date=2010&rft.isbn=978-0-19-533770-9&rft.aulast=Appiah&rft.aufirst=Anthony&rft.au=Gates+%28Jr.%29%2C+Henry+Louis&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DA0XNvklcqbwC&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-encyc2-3">^ <a href="#cite_ref-encyc2_3-0">a</a> <a href="#cite_ref-encyc2_3-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPeekYankah2004" class="citation book cs1">Peek, Philip M.; Yankah, Kwesi (2004). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=SmmUAgAAQBAJ&pg=PA548">African Folklore: An Encyclopedia</a>. New York, NY: Routledge. p. 548. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781135948733" title="Special:BookSources/9781135948733"><bdi>9781135948733</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=African+Folklore%3A+An+Encyclopedia&rft.place=New+York%2C+NY&rft.pages=548&rft.pub=Routledge&rft.date=2004&rft.isbn=9781135948733&rft.aulast=Peek&rft.aufirst=Philip+M.&rft.au=Yankah%2C+Kwesi&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DSmmUAgAAQBAJ%26pg%3DPA548&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-4"><a href="#cite_ref-4">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDavies2008" class="citation book cs1">Davies, Carole Boyce (July 29, 2008). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=9ETPEAAAQBAJ">Encyclopedia of the African Diaspora [3 volumes]: Origins, Experiences, and Culture [3 volumes]</a>. Santa Barbara, California: Bloomsbury Publishing USA. p. 849. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-85109-705-0" title="Special:BookSources/978-1-85109-705-0"><bdi>978-1-85109-705-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Encyclopedia+of+the+African+Diaspora+%5B3+volumes%5D%3A+Origins%2C+Experiences%2C+and+Culture+%5B3+volumes%5D&rft.place=Santa+Barbara%2C+California&rft.pages=849&rft.pub=Bloomsbury+Publishing+USA&rft.date=2008-07-29&rft.isbn=978-1-85109-705-0&rft.aulast=Davies&rft.aufirst=Carole+Boyce&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D9ETPEAAAQBAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-5"><a href="#cite_ref-5">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDomoshJordan-BychkovNeumannPrice2012" class="citation book cs1">Domosh, Mona; Jordan-Bychkov, Terry G.; Neumann, Roderick P.; Price, Patricia L. 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Macmillan. p. 416. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4292-7200-1" title="Special:BookSources/978-1-4292-7200-1"><bdi>978-1-4292-7200-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Human+Mosaic&rft.pages=416&rft.pub=Macmillan&rft.date=2012&rft.isbn=978-1-4292-7200-1&rft.aulast=Domosh&rft.aufirst=Mona&rft.au=Jordan-Bychkov%2C+Terry+G.&rft.au=Neumann%2C+Roderick+P.&rft.au=Price%2C+Patricia+L.&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DDKLq8YzQMH4C&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-6"><a href="#cite_ref-6">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFOlwigSorensen2003" class="citation book cs1">Olwig, Karen Fog; Sorensen, Ninna Nyberg (August 27, 2003). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=rXaBAgAAQBAJ">Work and Migration: Life and Livelihoods in a Globalizing World</a>. Oxfordshire, England, United Kingdom: Routledge. p. 56. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-134-50306-3" title="Special:BookSources/978-1-134-50306-3"><bdi>978-1-134-50306-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Work+and+Migration%3A+Life+and+Livelihoods+in+a+Globalizing+World&rft.place=Oxfordshire%2C+England%2C+United+Kingdom&rft.pages=56&rft.pub=Routledge&rft.date=2003-08-27&rft.isbn=978-1-134-50306-3&rft.aulast=Olwig&rft.aufirst=Karen+Fog&rft.au=Sorensen%2C+Ninna+Nyberg&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DrXaBAgAAQBAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-7"><a href="#cite_ref-7">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRussell1997" class="citation book cs1">Russell, K.F. (1997). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=hK84AQAAIAAJ&q=soukous%20swahili,%20french%20and%20lingala">Rhythm Music Magazine: RMM</a>. K.F. Russell. p. 45.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Rhythm+Music+Magazine%3A+RMM&rft.pages=45&rft.pub=K.F.+Russell&rft.date=1997&rft.aulast=Russell&rft.aufirst=K.F.&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DhK84AQAAIAAJ%26q%3Dsoukous%2520swahili%2C%2520french%2520and%2520lingala&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-:28-8">^ <a href="#cite_ref-:28_8-0">a</a> <a href="#cite_ref-:28_8-1">b</a> <a href="#cite_ref-:28_8-2">c</a> <a href="#cite_ref-:28_8-3">d</a> <a href="#cite_ref-:28_8-4">e</a> <a href="#cite_ref-:28_8-5">f</a> <a href="#cite_ref-:28_8-6">g</a> <a href="#cite_ref-:28_8-7">h</a> <a href="#cite_ref-:28_8-8">i</a> <a href="#cite_ref-:28_8-9">j</a> <a href="#cite_ref-:28_8-10">k</a> <a href="#cite_ref-:28_8-11">l</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGreenstreet2018" class="citation web cs1">Greenstreet, Morgan (December 7, 2018). <a rel="nofollow" class="external text" href="https://daily.redbullmusicacademy.com/2018/12/the-roots-of-soukous">"Seben Heaven: The Roots of Soukous"</a>. Daily.redbullmusicacademy.com. Retrieved June 11, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Daily.redbullmusicacademy.com&rft.atitle=Seben+Heaven%3A+The+Roots+of+Soukous&rft.date=2018-12-07&rft.aulast=Greenstreet&rft.aufirst=Morgan&rft_id=https%3A%2F%2Fdaily.redbullmusicacademy.com%2F2018%2F12%2Fthe-roots-of-soukous&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-:5-9">^ <a href="#cite_ref-:5_9-0">a</a> <a href="#cite_ref-:5_9-1">b</a> <a href="#cite_ref-:5_9-2">c</a> <a href="#cite_ref-:5_9-3">d</a> <a href="#cite_ref-:5_9-4">e</a> <a href="#cite_ref-:5_9-5">f</a> <a href="#cite_ref-:5_9-6">g</a> <a href="#cite_ref-:5_9-7">h</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFEyre2002" class="citation book cs1">Eyre, Banning (2002). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=uDLXx5vxTn4C">Africa: Your Passport to a New World of Music</a>. Los Angeles, California, United States: Alfred Music Publishing. pp. 12–17. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7390-2474-4" title="Special:BookSources/978-0-7390-2474-4"><bdi>978-0-7390-2474-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Africa%3A+Your+Passport+to+a+New+World+of+Music&rft.place=Los+Angeles%2C+California%2C+United+States&rft.pages=12-17&rft.pub=Alfred+Music+Publishing&rft.date=2002&rft.isbn=978-0-7390-2474-4&rft.aulast=Eyre&rft.aufirst=Banning&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DuDLXx5vxTn4C&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-:20-10">^ <a href="#cite_ref-:20_10-0">a</a> <a href="#cite_ref-:20_10-1">b</a> <a href="#cite_ref-:20_10-2">c</a> <a href="#cite_ref-:20_10-3">d</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBoomerBerryBufe2014" class="citation book cs1">Boomer, Tim; Berry, Mick; Bufe, Chaz (January 1, 2014). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=tI3cBAAAQBAJ&dq=soukous+20+musicians&pg=PA7">Bassist's Bible: How to Play Every Bass Style from Afro-Cuban to Zydeco</a>. See Sharp Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-937276-25-6" title="Special:BookSources/978-1-937276-25-6"><bdi>978-1-937276-25-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Bassist%27s+Bible%3A+How+to+Play+Every+Bass+Style+from+Afro-Cuban+to+Zydeco&rft.pub=See+Sharp+Press&rft.date=2014-01-01&rft.isbn=978-1-937276-25-6&rft.aulast=Boomer&rft.aufirst=Tim&rft.au=Berry%2C+Mick&rft.au=Bufe%2C+Chaz&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DtI3cBAAAQBAJ%26dq%3Dsoukous%2B20%2Bmusicians%26pg%3DPA7&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-:3-11">^ <a href="#cite_ref-:3_11-0">a</a> <a href="#cite_ref-:3_11-1">b</a> <a href="#cite_ref-:3_11-2">c</a> <a href="#cite_ref-:3_11-3">d</a> <a href="#cite_ref-:3_11-4">e</a> <a href="#cite_ref-:3_11-5">f</a> <a href="#cite_ref-:3_11-6">g</a> <a href="#cite_ref-:3_11-7">h</a> <a href="#cite_ref-:3_11-8">i</a> <a href="#cite_ref-:3_11-9">j</a> <a href="#cite_ref-:3_11-10">k</a> <a href="#cite_ref-:3_11-11">l</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMartin2002" class="citation book cs1">Martin, Phyllis (August 8, 2002). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=N65pbr2hC4wC">Leisure and Society in Colonial Brazzaville</a>. Cambridge, United Kingdom: Cambridge University Press. pp. 131–152. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-521-52446-9" title="Special:BookSources/978-0-521-52446-9"><bdi>978-0-521-52446-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Leisure+and+Society+in+Colonial+Brazzaville&rft.place=Cambridge%2C+United+Kingdom&rft.pages=131-152&rft.pub=Cambridge+University+Press&rft.date=2002-08-08&rft.isbn=978-0-521-52446-9&rft.aulast=Martin&rft.aufirst=Phyllis&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DN65pbr2hC4wC&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-12"><a href="#cite_ref-12">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKubik2010" class="citation book cs1">Kubik, Gerhard (October 30, 2010). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=jqYpBkpvqsEC">Theory of African Music, Volume I</a>. Chicago, Illinois, United States: University of Chicago Press. pp. 384–385. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-226-45691-1" title="Special:BookSources/978-0-226-45691-1"><bdi>978-0-226-45691-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Theory+of+African+Music%2C+Volume+I&rft.place=Chicago%2C+Illinois%2C+United+States&rft.pages=384-385&rft.pub=University+of+Chicago+Press&rft.date=2010-10-30&rft.isbn=978-0-226-45691-1&rft.aulast=Kubik&rft.aufirst=Gerhard&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DjqYpBkpvqsEC&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-13"><a href="#cite_ref-13">^</a> The Encyclopedia of Africa v. 1. 2010 p. 407. </li> <li id="cite_note-14"><a href="#cite_ref-14">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFStorm_Roberts1999" class="citation book cs1">Storm Roberts, John (1999). <a rel="nofollow" class="external text" href="https://archive.org/details/latintingeimpact0000robe">The Latin Tinge: The Impact of Latin American Music on the United States</a> (2nd ed.). New York, NY: Oxford University Press. pp. <a rel="nofollow" class="external text" href="https://archive.org/details/latintingeimpact0000robe/page/217">217</a>–218. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-976148-7" title="Special:BookSources/978-0-19-976148-7"><bdi>978-0-19-976148-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Latin+Tinge%3A+The+Impact+of+Latin+American+Music+on+the+United+States&rft.place=New+York%2C+NY&rft.pages=217-218&rft.edition=2nd&rft.pub=Oxford+University+Press&rft.date=1999&rft.isbn=978-0-19-976148-7&rft.aulast=Storm+Roberts&rft.aufirst=John&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Flatintingeimpact0000robe&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-:2-15">^ <a href="#cite_ref-:2_15-0">a</a> <a href="#cite_ref-:2_15-1">b</a> <a href="#cite_ref-:2_15-2">c</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMukuna2014" class="citation web cs1">Mukuna, Kazadi wa (December 7, 2014). <a rel="nofollow" class="external text" href="https://www.musicinafrica.net/magazine/brief-history-popular-music-drc">"A brief history of popular music in DRC"</a>. Music In Africa. Retrieved August 25, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Music+In+Africa&rft.atitle=A+brief+history+of+popular+music+in+DRC&rft.date=2014-12-07&rft.aulast=Mukuna&rft.aufirst=Kazadi+wa&rft_id=https%3A%2F%2Fwww.musicinafrica.net%2Fmagazine%2Fbrief-history-popular-music-drc&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-16"><a href="#cite_ref-16">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFEdward-Ekpu2021" class="citation web cs1">Edward-Ekpu, Uwagbale (December 21, 2021). <a rel="nofollow" class="external text" href="https://qz.com/africa/2104795/rumbas-congolese-roots-are-finally-being-recognized-by-unesco">"Rumba's Congolese roots are finally being recognized by Unesco"</a>. Quartz. Retrieved August 27, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Quartz&rft.atitle=Rumba%27s+Congolese+roots+are+finally+being+recognized+by+Unesco&rft.date=2021-12-21&rft.aulast=Edward-Ekpu&rft.aufirst=Uwagbale&rft_id=https%3A%2F%2Fqz.com%2Fafrica%2F2104795%2Frumbas-congolese-roots-are-finally-being-recognized-by-unesco&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-17"><a href="#cite_ref-17">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1 cs1-prop-foreign-lang-source"><a rel="nofollow" class="external text" href="http://www.mbokamosika.com/article-35012968.html">"Les années 1970: L'âge d'or de la musique congolaise"</a> [The 1970s: The Golden Age of Congolese Music]. Mbokamosika (in French). August 18, 2009. Retrieved August 26, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Mbokamosika&rft.atitle=Les+ann%C3%A9es+1970%3A+L%27%C3%A2ge+d%27or+de+la+musique+congolaise&rft.date=2009-08-18&rft_id=http%3A%2F%2Fwww.mbokamosika.com%2Farticle-35012968.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-18"><a href="#cite_ref-18">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="http://news.bbc.co.uk/2/hi/entertainment/7533358.stm">"'Father' of Congolese rumba dies"</a>. BBC. July 30, 2008. Retrieved August 26, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=BBC&rft.atitle=%27Father%27+of+Congolese+rumba+dies&rft.date=2008-07-30&rft_id=http%3A%2F%2Fnews.bbc.co.uk%2F2%2Fhi%2Fentertainment%2F7533358.stm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-:4-19"><a href="#cite_ref-:4_19-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGreenstreet2018" class="citation web cs1">Greenstreet, Morgan (December 7, 2018). <a rel="nofollow" class="external text" href="https://daily.redbullmusicacademy.com/2018/12/the-roots-of-soukous">"Seben Heaven: The Roots of Soukous"</a>. daily.redbullmusicacademy.com. Retrieved August 26, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=daily.redbullmusicacademy.com&rft.atitle=Seben+Heaven%3A+The+Roots+of+Soukous&rft.date=2018-12-07&rft.aulast=Greenstreet&rft.aufirst=Morgan&rft_id=https%3A%2F%2Fdaily.redbullmusicacademy.com%2F2018%2F12%2Fthe-roots-of-soukous&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-20"><a href="#cite_ref-20">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFOssinonde2017" class="citation web cs1 cs1-prop-foreign-lang-source">Ossinonde, Clément (August 2, 2017). <a rel="nofollow" class="external text" href="https://www.pagesafrik.com/a-lorigine-sebene-musique-congolaise-notation-musicale/">"Qui est à l'origine du "Sebene" dans la musique congolaise ? Sa notation musicale ?"</a>. Pagesafrik.com (in French). Retrieved August 26, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Pagesafrik.com&rft.atitle=Qui+est+%C3%A0+l%27origine+du+%22Sebene%22+dans+la+musique+congolaise+%3F+Sa+notation+musicale+%3F&rft.date=2017-08-02&rft.aulast=Ossinonde&rft.aufirst=Cl%C3%A9ment&rft_id=https%3A%2F%2Fwww.pagesafrik.com%2Fa-lorigine-sebene-musique-congolaise-notation-musicale%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-:7-21">^ <a href="#cite_ref-:7_21-0">a</a> <a href="#cite_ref-:7_21-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFStewart2020" class="citation book cs1">Stewart, Gary (May 5, 2020). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=7VmcEAAAQBAJ&dq=Bavon+and+Bholen's+N%C3%A9gro+Succ%C3%A8s+is+'le+premier+au+marathon+du+soucous,+Etoile+du+Congo+announced+in+1968.&pg=PT194">Rumba on the River: A History of the Popular Music of the Two Congos</a>. Brooklyn, New York, New York State, United States: Verso Books. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-78960-911-0" title="Special:BookSources/978-1-78960-911-0"><bdi>978-1-78960-911-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Rumba+on+the+River%3A+A+History+of+the+Popular+Music+of+the+Two+Congos&rft.place=Brooklyn%2C+New+York%2C+New+York+State%2C+United+States&rft.pub=Verso+Books&rft.date=2020-05-05&rft.isbn=978-1-78960-911-0&rft.aulast=Stewart&rft.aufirst=Gary&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D7VmcEAAAQBAJ%26dq%3DBavon%2Band%2BBholen%27s%2BN%25C3%25A9gro%2BSucc%25C3%25A8s%2Bis%2B%27le%2Bpremier%2Bau%2Bmarathon%2Bdu%2Bsoucous%2C%2BEtoile%2Bdu%2BCongo%2Bannounced%2Bin%2B1968.%26pg%3DPT194&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-:8-22">^ <a href="#cite_ref-:8_22-0">a</a> <a href="#cite_ref-:8_22-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAP1989" class="citation news cs1">AP (1989). <a rel="nofollow" class="external text" href="https://www.nytimes.com/1989/10/17/obituaries/franco-51-zairian-band-leader-and-creator-of-the-soukous-style.html">"Franco, 51, Zairian Band Leader And Creator of the Soukous Style"</a>. The New York Times. Retrieved November 18, 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times&rft.atitle=Franco%2C+51%2C+Zairian+Band+Leader+And+Creator+of+the+Soukous+Style&rft.date=1989&rft.au=AP&rft_id=https%3A%2F%2Fwww.nytimes.com%2F1989%2F10%2F17%2Fobituaries%2Ffranco-51-zairian-band-leader-and-creator-of-the-soukous-style.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-:13-23">^ <a href="#cite_ref-:13_23-0">a</a> <a href="#cite_ref-:13_23-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAppiahGates_(Jr.)2010" class="citation book cs1">Appiah, Anthony; Gates (Jr.), Henry Louis (2010). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=A0XNvklcqbwC">Encyclopedia of Africa</a>. Oxford, United Kingdom: Oxford University Press. p. 407. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-533770-9" title="Special:BookSources/978-0-19-533770-9"><bdi>978-0-19-533770-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Encyclopedia+of+Africa&rft.place=Oxford%2C+United+Kingdom&rft.pages=407&rft.pub=Oxford+University+Press&rft.date=2010&rft.isbn=978-0-19-533770-9&rft.aulast=Appiah&rft.aufirst=Anthony&rft.au=Gates+%28Jr.%29%2C+Henry+Louis&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DA0XNvklcqbwC&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-:6-24">^ <a href="#cite_ref-:6_24-0">a</a> <a href="#cite_ref-:6_24-1">b</a> <a href="#cite_ref-:6_24-2">c</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAfrican2018" class="citation web cs1">African, New (August 15, 2018). <a rel="nofollow" class="external text" href="https://newafricanmagazine.com/17337/">"The mixed legacy of DRC musician Franco"</a>. New African Magazine. Retrieved August 26, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=New+African+Magazine&rft.atitle=The+mixed+legacy+of+DRC+musician+Franco&rft.date=2018-08-15&rft.aulast=African&rft.aufirst=New&rft_id=https%3A%2F%2Fnewafricanmagazine.com%2F17337%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-:22-25"><a href="#cite_ref-:22_25-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFOssinondé2020" class="citation web cs1 cs1-prop-foreign-lang-source">Ossinondé, Clément (March 2, 2020). <a rel="nofollow" class="external text" href="https://www.congopage.com/Voyage-musical-l-aller-et-retour-de-la-rumba">"Voyage Musical : l'aller et retour de la rumba"</a> [Musical Journey: the back and forth of the rumba]. Congopage.com (in French). Retrieved October 28, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Congopage.com&rft.atitle=Voyage+Musical+%3A+l%27aller+et+retour+de+la+rumba&rft.date=2020-03-02&rft.aulast=Ossinond%C3%A9&rft.aufirst=Cl%C3%A9ment&rft_id=https%3A%2F%2Fwww.congopage.com%2FVoyage-musical-l-aller-et-retour-de-la-rumba&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-:14-26">^ <a href="#cite_ref-:14_26-0">a</a> <a href="#cite_ref-:14_26-1">b</a> <a href="#cite_ref-:14_26-2">c</a> <a href="#cite_ref-:14_26-3">d</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFStewart2020" class="citation book cs1">Stewart, Gary (May 5, 2020). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=7VmcEAAAQBAJ&dq=Orchestre+Sinza+introduced+the+soukous+to+Brazzaville+bar+patrons+in+1966+but+lacked+the+connections&pg=PT195">Rumba on the River: A History of the Popular Music of the Two Congos</a>. Brooklyn, New York, New York State, United States: Verso Books. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-78960-911-0" title="Special:BookSources/978-1-78960-911-0"><bdi>978-1-78960-911-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Rumba+on+the+River%3A+A+History+of+the+Popular+Music+of+the+Two+Congos&rft.place=Brooklyn%2C+New+York%2C+New+York+State%2C+United+States&rft.pub=Verso+Books&rft.date=2020-05-05&rft.isbn=978-1-78960-911-0&rft.aulast=Stewart&rft.aufirst=Gary&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D7VmcEAAAQBAJ%26dq%3DOrchestre%2BSinza%2Bintroduced%2Bthe%2Bsoukous%2Bto%2BBrazzaville%2Bbar%2Bpatrons%2Bin%2B1966%2Bbut%2Blacked%2Bthe%2Bconnections%26pg%3DPT195&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-27"><a href="#cite_ref-27">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBemba2023" class="citation web cs1 cs1-prop-foreign-lang-source">Bemba, Audifax (October 14, 2023). <a rel="nofollow" class="external text" href="https://www.congopage.com/orchestre-sinza-kotoko-de-brazzaville">"Orchestre Sinza "Kotoko" de Brazzaville"</a> [Sinza "Kotoko" Orchestra of Brazzaville]. 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Thousand Oaks, California, United States: SAGE Publications. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-5063-5337-1" title="Special:BookSources/978-1-5063-5337-1"><bdi>978-1-5063-5337-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+SAGE+International+Encyclopedia+of+Music+and+Culture&rft.place=Thousand+Oaks%2C+California%2C+United+States&rft.pub=SAGE+Publications&rft.date=2019-02-26&rft.isbn=978-1-5063-5337-1&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DL0OKDwAAQBAJ%26dq%3Dsoukous%2Bmobutu%2Bauthenticity%26pg%3DPT1157&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-32"><a href="#cite_ref-32">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAppiahGates2005" class="citation book cs1">Appiah, Anthony; Gates, Henry Louis, eds. 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Ethnomusicology. 52 (2): 296–323. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.2307%2F20174590">10.2307/20174590</a>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0014-1836">0014-1836</a>. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/20174590">20174590</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Ethnomusicology&rft.atitle=Rumba+in+the+City+of+Peace%3A+Migration+and+the+Cultural+Commodity+of+Congolese+Music+in+Dar+es+Salaam%2C+1968-1985&rft.volume=52&rft.issue=2&rft.pages=296-323&rft.date=2008&rft.issn=0014-1836&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F20174590%23id-name%3DJSTOR&rft_id=info%3Adoi%2F10.2307%2F20174590&rft.aulast=Perullo&rft.aufirst=Alex&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F20174590&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-36"><a href="#cite_ref-36">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRand2016" class="citation web cs1">Rand, Jonas (December 17, 2016). <a rel="nofollow" class="external text" href="https://saheltothecape.wordpress.com/2016/12/17/congolese-music-1970s/">"Congolese Music, 1970s"</a>. 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Albany, New York City, New York State: State University of New York Press. pp. 40–41. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781438442174" title="Special:BookSources/9781438442174"><bdi>9781438442174</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Let+Spirit+Speak%21%3A+Cultural+Journeys+Through+the+African+Diaspora&rft.place=Albany%2C+New+York+City%2C+New+York+State&rft.pages=40-41&rft.pub=State+University+of+New+York+Press&rft.date=2012-06&rft.isbn=9781438442174&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DUvtHAox4T5EC&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-:842-77"><a href="#cite_ref-:842_77-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHodgkinson2010" class="citation news cs1">Hodgkinson, Will (July 8, 2010). <a rel="nofollow" class="external text" href="https://www.theguardian.com/music/2010/jul/08/columbia-african-music-palenque">"How African music made it big in Colombia"</a>. The Guardian. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0261-3077">0261-3077</a>. Retrieved August 23, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=How+African+music+made+it+big+in+Colombia&rft.date=2010-07-08&rft.issn=0261-3077&rft.aulast=Hodgkinson&rft.aufirst=Will&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fmusic%2F2010%2Fjul%2F08%2Fcolumbia-african-music-palenque&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-78"><a href="#cite_ref-78">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDaoudi1998" class="citation web cs1 cs1-prop-foreign-lang-source">Daoudi, Bouziane (August 29, 1998). <a rel="nofollow" class="external text" href="https://www.liberation.fr/culture/1998/08/29/world-le-chanteur-ex-zairois-en-concert-a-l-olympia-koffi-olomide-rambo-de-la-rumba-koffi-olomide-sa_244600/">"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"</a> [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.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Lib%C3%A9ration&rft.atitle=World.+Le+chanteur+ex-za%C3%AFrois+en+concert+%C3%A0+l%27Olympia.+Koffi+Olomid%C3%A9%2C+Rambo+de+la+rumba.+Koffi+Olomid%C3%A9.+Samedi+%C3%A0+23+heures+%C3%A0+l%27Olympia%2C+28%2C+bd+des+Capucines%2C+Paris+IXe.+T%C3%A9l.%3A+01+47+42+25+49.+Album%3A+%22Loi%22%2C+Sonodisc.&rft.date=1998-08-29&rft.aulast=Daoudi&rft.aufirst=Bouziane&rft_id=https%3A%2F%2Fwww.liberation.fr%2Fculture%2F1998%2F08%2F29%2Fworld-le-chanteur-ex-zairois-en-concert-a-l-olympia-koffi-olomide-rambo-de-la-rumba-koffi-olomide-sa_244600%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-79"><a href="#cite_ref-79">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMbu-Mputu" class="citation book cs1 cs1-prop-foreign-lang-source">Mbu-Mputu, Norbert X. <a rel="nofollow" class="external text" href="https://books.google.com/books?id=mfWiDwAAQBAJ&dq=Y%C3%A9y%C3%A9+National+brussels&pg=PA331">L'AUTRE LUMUMBA. Peuple du CONGO: Histoire, résistances, assassinats et victoires sur le front de la Guerre froide</a> (in French). Morrisville, North Carolina, United States. p. 331. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-244-77422-6" title="Special:BookSources/978-0-244-77422-6"><bdi>978-0-244-77422-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=L%27AUTRE+LUMUMBA.+Peuple+du+CONGO%3A+Histoire%2C+r%C3%A9sistances%2C+assassinats+et+victoires+sur+le+front+de+la+Guerre+froide&rft.place=Morrisville%2C+North+Carolina%2C+United+States&rft.pages=331&rft.isbn=978-0-244-77422-6&rft.aulast=Mbu-Mputu&rft.aufirst=Norbert+X&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DmfWiDwAAQBAJ%26dq%3DY%25C3%25A9y%25C3%25A9%2BNational%2Bbrussels%26pg%3DPA331&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-80"><a href="#cite_ref-80">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGraham1992" class="citation book cs1">Graham, Ronnie, ed. (1992). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=mLQ4AQAAIAAJ&q=Los+Nickelos+brussels+1980s">The World of African Music: Volume 1</a>. London, England, United Kingdom: Pluto Press. p. 130. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-948390-03-6" title="Special:BookSources/978-0-948390-03-6"><bdi>978-0-948390-03-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+World+of+African+Music%3A+Volume+1&rft.place=London%2C+England%2C+United+Kingdom&rft.pages=130&rft.pub=Pluto+Press&rft.date=1992&rft.isbn=978-0-948390-03-6&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DmLQ4AQAAIAAJ%26q%3DLos%2BNickelos%2Bbrussels%2B1980s&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-81"><a href="#cite_ref-81">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLavaine2020" class="citation web cs1 cs1-prop-foreign-lang-source">Lavaine, Bertrand (September 30, 2020). <a rel="nofollow" class="external text" href="https://musique.rfi.fr/rumba-congolaise/20200930-zaiko-langa-langa-une-histoire-congolaise">"Zaïko Langa Langa, une histoire congolaise"</a> [Zaïko Langa Langa, a Congolese story]. RFI Musique (in French). Paris, France. Retrieved May 27, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=RFI+Musique&rft.atitle=Za%C3%AFko+Langa+Langa%2C+une+histoire+congolaise&rft.date=2020-09-30&rft.aulast=Lavaine&rft.aufirst=Bertrand&rft_id=https%3A%2F%2Fmusique.rfi.fr%2Frumba-congolaise%2F20200930-zaiko-langa-langa-une-histoire-congolaise&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-:16-82">^ <a href="#cite_ref-:16_82-0">a</a> <a href="#cite_ref-:16_82-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFStewart2020" class="citation book cs1">Stewart, Gary (May 5, 2020). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=7VmcEAAAQBAJ&q=congolese+rumba+on+the+river">Rumba on the River: A History of the Popular Music of the Two Congos</a>. Brooklyn, New York City: Verso Books. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-78960-911-0" title="Special:BookSources/978-1-78960-911-0"><bdi>978-1-78960-911-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Rumba+on+the+River%3A+A+History+of+the+Popular+Music+of+the+Two+Congos&rft.place=Brooklyn%2C+New+York+City&rft.pub=Verso+Books&rft.date=2020-05-05&rft.isbn=978-1-78960-911-0&rft.aulast=Stewart&rft.aufirst=Gary&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D7VmcEAAAQBAJ%26q%3Dcongolese%2Brumba%2Bon%2Bthe%2Briver&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-:17-83">^ <a href="#cite_ref-:17_83-0">a</a> <a href="#cite_ref-:17_83-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFVogelNetwork2013" class="citation web cs1">Vogel, Christoph; Network, part of the Guardian Africa (August 23, 2013). <a rel="nofollow" class="external text" href="https://www.theguardian.com/world/2013/aug/23/congo-musicians-kinshasa-rumba">"Say my name: How 'shout-outs' keep Congolese musicians in the money"</a>. the Guardian. Retrieved August 27, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=the+Guardian&rft.atitle=Say+my+name%3A+How+%27shout-outs%27+keep+Congolese+musicians+in+the+money&rft.date=2013-08-23&rft.aulast=Vogel&rft.aufirst=Christoph&rft.au=Network%2C+part+of+the+Guardian+Africa&rft_id=http%3A%2F%2Fwww.theguardian.com%2Fworld%2F2013%2Faug%2F23%2Fcongo-musicians-kinshasa-rumba&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-Stewart-84"><a href="#cite_ref-Stewart_84-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFStewart2000" class="citation book cs1">Stewart, Gary (2000). <a rel="nofollow" class="external text" href="https://archive.org/details/rumbaonriverhist00stew">Rumba on the river : a history of the popular music of the two Congos</a>. Verso. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-85984-744-7" title="Special:BookSources/1-85984-744-7"><bdi>1-85984-744-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Rumba+on+the+river+%3A+a+history+of+the+popular+music+of+the+two+Congos&rft.pub=Verso&rft.date=2000&rft.isbn=1-85984-744-7&rft.aulast=Stewart&rft.aufirst=Gary&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Frumbaonriverhist00stew&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-Afropop-85"><a href="#cite_ref-Afropop_85-0">^</a> Public Radio International, Afropop Worldwide, program on "The Four Stars," recorded February 1996 from KSKA Anchorage. </li> <li id="cite_note-Kanda_Bongo_Man_dances_a_new_dance-86"><a href="#cite_ref-Kanda_Bongo_Man_dances_a_new_dance_86-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.bbc.com/news/av/world-africa-29418790">"Kanda Bongo Man dances a new dance"</a>. 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Retrieved January 13, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Nation&rft.atitle=Dancing+styles+innovator+Radja+Kula+Mbuta+takes+last+bow&rft.date=2020-08-22&rft.aulast=Ngaira&rft.aufirst=Amos&rft_id=https%3A%2F%2Fnation.africa%2Fkenya%2Flife-and-style%2Fculture%2Fdancing-styles-innovator-radja-kula-mbuta-takes-last-bow-1923740&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-88"><a href="#cite_ref-88">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMafuta2020" class="citation web cs1 cs1-prop-foreign-lang-source">Mafuta, Masand (September 5, 2020). <a rel="nofollow" class="external text" href="https://axenordsudmedia.com/2020/09/05/kinshasa-gentiny-ngobila-sengage-mordicus-pour-lorganisation-des-obseques-de-radja-kula/">"Kinshasa: Gentiny Ngobila s'engage mordicus pour l'organisation des obsèques de Radja Kula"</a> [Kinshasa: Gentiny Ngobila is committed to organizing the funeral of Radja Kula]. AxeNordSud Media (in French). Retrieved January 13, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=AxeNordSud+Media&rft.atitle=Kinshasa%3A+Gentiny+Ngobila+s%27engage+mordicus+pour+l%27organisation+des+obs%C3%A8ques+de+Radja+Kula&rft.date=2020-09-05&rft.aulast=Mafuta&rft.aufirst=Masand&rft_id=https%3A%2F%2Faxenordsudmedia.com%2F2020%2F09%2F05%2Fkinshasa-gentiny-ngobila-sengage-mordicus-pour-lorganisation-des-obseques-de-radja-kula%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-:42-89"><a href="#cite_ref-:42_89-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGeorgeCarr2008" class="citation book cs1">George, Nelson; Carr, Daphne (October 20, 2008). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=vtBj4psmJlcC&dq=ndombolo+dance+music&pg=PA129">Best Music Writing 2008</a>. New York City, New York State, United States: Hachette Books. p. 129. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7867-2612-7" title="Special:BookSources/978-0-7867-2612-7"><bdi>978-0-7867-2612-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Best+Music+Writing+2008&rft.place=New+York+City%2C+New+York+State%2C+United+States&rft.pages=129&rft.pub=Hachette+Books&rft.date=2008-10-20&rft.isbn=978-0-7867-2612-7&rft.aulast=George&rft.aufirst=Nelson&rft.au=Carr%2C+Daphne&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DvtBj4psmJlcC%26dq%3Dndombolo%2Bdance%2Bmusic%26pg%3DPA129&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-:162-90">^ <a href="#cite_ref-:162_90-0">a</a> <a href="#cite_ref-:162_90-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBuettner2016" class="citation book cs1">Buettner, Elizabeth (March 24, 2016). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=4QjPDAAAQBAJ&dq=many+congolese+move+to+europe+in+1990s&pg=PA313">Europe after Empire: Decolonization, Society, and Culture</a>. Cambridge, United Kingdom: Cambridge University Press. p. 313. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-316-59470-4" title="Special:BookSources/978-1-316-59470-4"><bdi>978-1-316-59470-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Europe+after+Empire%3A+Decolonization%2C+Society%2C+and+Culture&rft.place=Cambridge%2C+United+Kingdom&rft.pages=313&rft.pub=Cambridge+University+Press&rft.date=2016-03-24&rft.isbn=978-1-316-59470-4&rft.aulast=Buettner&rft.aufirst=Elizabeth&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D4QjPDAAAQBAJ%26dq%3Dmany%2Bcongolese%2Bmove%2Bto%2Beurope%2Bin%2B1990s%26pg%3DPA313&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-Makumeno-91">^ <a href="#cite_ref-Makumeno_91-0">a</a> <a href="#cite_ref-Makumeno_91-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMakumeno2022" class="citation web cs1 cs1-prop-foreign-lang-source">Makumeno, Emery (July 1, 2022). <a rel="nofollow" class="external text" href="https://www.bbc.com/afrique/articles/c84xqw9ppk1o">"Musique : qu'est-ce que le clan Wenge, pionnier de la danse Ndombolo ?"</a>. BBC News Afrique (in French). Retrieved November 12, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=BBC+News+Afrique&rft.atitle=Musique+%3A+qu%27est-ce+que+le+clan+Wenge%2C+pionnier+de+la+danse+Ndombolo+%3F&rft.date=2022-07-01&rft.aulast=Makumeno&rft.aufirst=Emery&rft_id=https%3A%2F%2Fwww.bbc.com%2Fafrique%2Farticles%2Fc84xqw9ppk1o&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-:43-92"><a href="#cite_ref-:43_92-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGeorgeCarr2008" class="citation book cs1">George, Nelson; Carr, Daphne (October 20, 2008). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=vtBj4psmJlcC&dq=ndombolo+dance+music&pg=PA129">Best Music Writing 2008</a>. New York City, New York State, United States: Hachette Books. p. 129. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7867-2612-7" title="Special:BookSources/978-0-7867-2612-7"><bdi>978-0-7867-2612-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Best+Music+Writing+2008&rft.place=New+York+City%2C+New+York+State%2C+United+States&rft.pages=129&rft.pub=Hachette+Books&rft.date=2008-10-20&rft.isbn=978-0-7867-2612-7&rft.aulast=George&rft.aufirst=Nelson&rft.au=Carr%2C+Daphne&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DvtBj4psmJlcC%26dq%3Dndombolo%2Bdance%2Bmusic%26pg%3DPA129&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-ndb1-93"><a href="#cite_ref-ndb1_93-0">^</a> "<a rel="nofollow" class="external text" href="http://news.bbc.co.uk/1/hi/world/africa/851033.stm">Anger at Cameroon dance ban; BBC News</a>", BBC News, July 25, 2000 </li> <li id="cite_note-:72-94"><a href="#cite_ref-:72_94-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFalolaJean-Jacques2015" class="citation book cs1">Falola, Toyin; Jean-Jacques, Daniel (December 14, 2015). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=UOTNEAAAQBAJ&dq=ndombolo+POPULAR&pg=PT419">Africa [3 volumes]: An Encyclopedia of Culture and Society [3 volumes]</a>. New York City, New York State, United States: Bloomsbury Publishing USA. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/979-8-216-04273-0" title="Special:BookSources/979-8-216-04273-0"><bdi>979-8-216-04273-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Africa+%5B3+volumes%5D%3A+An+Encyclopedia+of+Culture+and+Society+%5B3+volumes%5D&rft.place=New+York+City%2C+New+York+State%2C+United+States&rft.pub=Bloomsbury+Publishing+USA&rft.date=2015-12-14&rft.isbn=979-8-216-04273-0&rft.aulast=Falola&rft.aufirst=Toyin&rft.au=Jean-Jacques%2C+Daniel&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DUOTNEAAAQBAJ%26dq%3Dndombolo%2BPOPULAR%26pg%3DPT419&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-95"><a href="#cite_ref-95">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTrillo2002" class="citation book cs1">Trillo, Richard (2002). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=99x5ea1Gq-cC&dq=ndombolo+ban+in+kenya&pg=PA301">Kenya</a>. London, England, United Kingdom: Rough Guides. p. 301. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-85828-859-8" title="Special:BookSources/978-1-85828-859-8"><bdi>978-1-85828-859-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Kenya&rft.place=London%2C+England%2C+United+Kingdom&rft.pages=301&rft.pub=Rough+Guides&rft.date=2002&rft.isbn=978-1-85828-859-8&rft.aulast=Trillo&rft.aufirst=Richard&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D99x5ea1Gq-cC%26dq%3Dndombolo%2Bban%2Bin%2Bkenya%26pg%3DPA301&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-:82-96"><a href="#cite_ref-:82_96-0">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFNzale2004" class="citation news cs1 cs1-prop-foreign-lang-source">Nzale, Félix (February 3, 2004). <a rel="nofollow" class="external text" href="https://fr.allafrica.com/stories/200402030685.html">"Sénégal: Ndombolo, mapuka : ces danses jugées indésirables"</a> [Senegal: Ndombolo, mapuka: these dances considered undesirable]. Sudquotidien.sn (in French). Retrieved November 10, 2023.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Sudquotidien.sn&rft.atitle=S%C3%A9n%C3%A9gal%3A+Ndombolo%2C+mapuka+%3A+ces+danses+jug%C3%A9es+ind%C3%A9sirables&rft.date=2004-02-03&rft.aulast=Nzale&rft.aufirst=F%C3%A9lix&rft_id=https%3A%2F%2Ffr.allafrica.com%2Fstories%2F200402030685.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-97"><a href="#cite_ref-97">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMutara2008" class="citation web cs1">Mutara, Eugene (April 29, 2008). <a rel="nofollow" class="external text" href="https://allafrica.com/stories/200804290721.html">"Rwanda: Memories Through Congolese Music"</a>. Newtimes.co.rw. Retrieved May 12, 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Newtimes.co.rw&rft.atitle=Rwanda%3A+Memories+Through+Congolese+Music&rft.date=2008-04-29&rft.aulast=Mutara&rft.aufirst=Eugene&rft_id=https%3A%2F%2Fallafrica.com%2Fstories%2F200804290721.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> <li id="cite_note-98"><a href="#cite_ref-98">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWoods2017" class="citation book cs1">Woods, Sarah (July 6, 2017). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=4t2xDgAAQBAJ&dq=ndombolo+banned+in+cameroon&pg=PT246">The 50 Greatest Musical Places</a>. North Road, London, United Kingdom: Icon Books. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-78578-190-2" title="Special:BookSources/978-1-78578-190-2"><bdi>978-1-78578-190-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+50+Greatest+Musical+Places&rft.place=North+Road%2C+London%2C+United+Kingdom&rft.pub=Icon+Books&rft.date=2017-07-06&rft.isbn=978-1-78578-190-2&rft.aulast=Woods&rft.aufirst=Sarah&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3D4t2xDgAAQBAJ%26dq%3Dndombolo%2Bbanned%2Bin%2Bcameroon%26pg%3DPT246&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"> </li> </ol></div> <div class="mw-heading mw-heading2"><h2 id="Bibliography">Bibliography</h2>[<a href="/w/index.php?title=Soukous&action=edit&section=13" title="Edit section: Bibliography">edit</a>]</div> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGary_Stewart2000" class="citation book cs1">Gary Stewart (2000). Rumba on the River: A History of the Popular Music of the Two Congos. Verso. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-85984-368-9" title="Special:BookSources/1-85984-368-9"><bdi>1-85984-368-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Rumba+on+the+River%3A+A+History+of+the+Popular+Music+of+the+Two+Congos&rft.pub=Verso&rft.date=2000&rft.isbn=1-85984-368-9&rft.au=Gary+Stewart&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWheeler2005" class="citation journal cs1">Wheeler, Jesse Samba (March 2005). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160115030503/http://www.imageandnarrative.be/inarchive/worldmusica/jessesambawheeler.htm">"Rumba Lingala as Colonial Resistance"</a>. Image & Narrative (10). Archived from <a rel="nofollow" class="external text" href="http://www.imageandnarrative.be/inarchive/worldmusica/jessesambawheeler.htm">the original</a> on January 15, 2016. Retrieved July 14, 2014.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Image+%26+Narrative&rft.atitle=Rumba+Lingala+as+Colonial+Resistance&rft.issue=10&rft.date=2005-03&rft.aulast=Wheeler&rft.aufirst=Jesse+Samba&rft_id=http%3A%2F%2Fwww.imageandnarrative.be%2Finarchive%2Fworldmusica%2Fjessesambawheeler.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASoukous" class="Z3988"></li></ul> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2>[<a href="/w/index.php?title=Soukous&action=edit&section=14" title="Edit section: External links">edit</a>]</div> <ul><li><a rel="nofollow" class="external text" href="http://www.worldhum.com/dispatches/item/soukous_and_the_sound_of_sunshine_20060701/">The Sound of Sunshine: How soukous saved my life</a></li> <li><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=R9S6ezPLmyI">Rare recording (1961) of rural finger style Soukous guitarist Pierre Gwa with home made guitar</a></li> <li><a rel="nofollow" class="external text" href="http://www.guitaresoukous.com/">GuitOp81's Soukous Guitar site</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170227120328/http://www.guitaresoukous.com/">Archived</a> February 27, 2017, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a></li></ul> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><style data-mw-deduplicate="TemplateStyles:r1236075235">.mw-parser-output .navbox{box-sizing:border-box;border:1px solid #a2a9b1;width:100%;clear:both;font-size:88%;text-align:center;padding:1px;margin:1em auto 0}.mw-parser-output .navbox .navbox{margin-top:0}.mw-parser-output .navbox+.navbox,.mw-parser-output .navbox+.navbox-styles+.navbox{margin-top:-1px}.mw-parser-output .navbox-inner,.mw-parser-output .navbox-subgroup{width:100%}.mw-parser-output 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rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><style data-mw-deduplicate="TemplateStyles:r1239400231">.mw-parser-output .navbar{display:inline;font-size:88%;font-weight:normal}.mw-parser-output .navbar-collapse{float:left;text-align:left}.mw-parser-output .navbar-boxtext{word-spacing:0}.mw-parser-output .navbar ul{display:inline-block;white-space:nowrap;line-height:inherit}.mw-parser-output .navbar-brackets::before{margin-right:-0.125em;content:"[ "}.mw-parser-output .navbar-brackets::after{margin-left:-0.125em;content:" ]"}.mw-parser-output .navbar li{word-spacing:-0.125em}.mw-parser-output .navbar a>span,.mw-parser-output .navbar a>abbr{text-decoration:inherit}.mw-parser-output .navbar-mini abbr{font-variant:small-caps;border-bottom:none;text-decoration:none;cursor:inherit}.mw-parser-output .navbar-ct-full{font-size:114%;margin:0 7em}.mw-parser-output .navbar-ct-mini{font-size:114%;margin:0 4em}html.skin-theme-clientpref-night .mw-parser-output .navbar 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href="/wiki/African_popular_music" title="African popular music">African popular music</a></div></th></tr><tr><td colspan="2" class="navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/African_blues" title="African blues">African blues</a> <ul><li><a href="/wiki/Desert_blues" title="Desert blues">desert blues</a></li></ul></li> <li><a href="/wiki/African_hip_hop" title="African hip hop">African hip hop</a> <ul><li><a href="/wiki/Algerian_hip_hop" title="Algerian hip hop">Algerian</a></li> <li><a href="/wiki/Gambian_hip_hop" title="Gambian hip hop">Gambian</a></li> <li><a href="/wiki/Gh_hiphop" class="mw-redirect" title="Gh hiphop">Ghanaian</a></li> <li><a href="/wiki/Ivorian_hip_hop" title="Ivorian hip hop">Ivorian</a></li> <li><a href="/wiki/Kenyan_hip_hop" title="Kenyan hip hop">Kenyan</a> <ul><li><a href="/wiki/Boomba_music" title="Boomba music">Boomba</a></li> <li><a href="/wiki/Genge" title="Genge">Genge</a></li></ul></li> <li><a href="/wiki/Malawian_hip_hop" title="Malawian hip hop">Malawian</a></li> <li><a href="/wiki/Moroccan_hip_hop" title="Moroccan hip hop">Moroccan</a></li> <li><a href="/wiki/Mauritian_hip_hop" class="mw-redirect" title="Mauritian hip hop">Mauritian</a></li> <li><a href="/wiki/Igbo_rap" title="Igbo rap">Nigerian</a></li> <li><a href="/wiki/Nigerien_hip_hop" title="Nigerien hip hop">Nigerien</a></li> <li><a href="/wiki/Senegalese_hip_hop" title="Senegalese hip hop">Senegalese</a> <ul><li><a href="/wiki/Hip_hop_galsen" title="Hip hop galsen">Hip hop galsen</a></li></ul></li> <li><a href="/wiki/Tanzanian_hip_hop" title="Tanzanian hip hop">Tanzanian</a> <ul><li><a href="/wiki/Bongo_Flava" title="Bongo Flava">Bongo Flava</a></li> <li><a href="/wiki/Zenji_flava" title="Zenji flava">Zenji flava</a></li></ul></li> <li><a href="/wiki/Togolese_hip_hop" title="Togolese hip hop">Togolese</a></li> <li><a href="/wiki/Zimbabwean_hip_hop" title="Zimbabwean hip hop">Zimbabwean</a></li></ul></li> <li><a href="/wiki/African_reggae" title="African reggae">African reggae</a> <ul><li><a href="/wiki/Nigerian_reggae" title="Nigerian reggae">Nigerian reggae</a></li> <li><a href="/wiki/Seggae" title="Seggae">Seggae</a></li> <li><a href="/wiki/Zimdancehall" title="Zimdancehall">Zimdancehall</a></li></ul></li> <li><a href="/wiki/Afrobeat" title="Afrobeat">Afrobeat</a></li> <li><a href="/wiki/Afrobeats" title="Afrobeats">Afrobeats</a></li> <li><a href="/wiki/Afro-rock" class="mw-redirect" title="Afro-rock">Afro-rock</a> <ul><li><a href="/wiki/African_heavy_metal" title="African heavy metal">African heavy metal</a></li> <li><a href="/wiki/Zamrock" title="Zamrock">Zamrock</a></li></ul></li> <li><a href="/wiki/Afro-soul" title="Afro-soul">Afro-soul</a></li> <li><a href="/wiki/Alt%C3%A9" title="Alté">Alté</a></li> <li><a href="/wiki/Amapiano" title="Amapiano">Amapiano</a></li> <li><a href="/wiki/Ambasse_bey" title="Ambasse bey">Ambasse bey</a></li> <li><a href="/wiki/Apala" title="Apala">Apala</a></li> <li><a href="/wiki/Assiko" title="Assiko">Assiko</a></li> <li><a href="/wiki/Azonto" title="Azonto">Azonto</a></li> <li><a href="/wiki/Bajourou" title="Bajourou">Bajourou</a></li> <li><a href="/wiki/Bantowbol" title="Bantowbol">Bantowbol</a></li> <li><a href="/wiki/Batuque_(music_and_dance)" class="mw-redirect" title="Batuque (music and dance)">Batuque</a></li> <li><a href="/wiki/Bend-skin" title="Bend-skin">Bend-skin</a></li> <li><a href="/wiki/Benga_music" title="Benga music">Benga</a></li> <li><a href="/wiki/Bikutsi" title="Bikutsi">Bikutsi</a></li> <li><a href="/wiki/Cape_jazz" title="Cape jazz">Cape jazz</a></li> <li><a href="/wiki/Chaabi_(music)" class="mw-redirect" title="Chaabi (music)">Chaabi</a> <ul><li><a href="/wiki/Chaabi_(Algeria)" title="Chaabi (Algeria)">Algerian</a></li> <li><a href="/wiki/Chaabi_(Morocco)" title="Chaabi (Morocco)">Moroccan</a></li></ul></li> <li><a href="/wiki/Chimurenga_music" title="Chimurenga music">Chimurenga</a></li> <li><a href="/wiki/Col%C3%A1" title="Colá">Colá</a></li> <li><a href="/wiki/Coladeira" title="Coladeira">Coladeira</a></li> <li><a href="/wiki/Congolese_rumba" title="Congolese rumba">Congolese rumba</a></li> <li><a href="/wiki/Coup%C3%A9-d%C3%A9cal%C3%A9" title="Coupé-décalé">Coupé-décalé</a></li> <li><a href="/wiki/Edo_Funk" title="Edo Funk">Edo Funk</a></li> <li><a href="/wiki/Fuji_music" title="Fuji music">Fuji</a></li> <li><a href="/wiki/Funan%C3%A1" title="Funaná">Funaná</a></li> <li><a href="/wiki/Gnawa_music" title="Gnawa music">Gnawa</a></li> <li><a href="/wiki/Gqom" title="Gqom">Gqom</a></li> <li><a href="/wiki/Highlife" title="Highlife">Highlife</a> <ul><li><a href="/wiki/Burger-highlife" title="Burger-highlife">Burger-highlife</a></li> <li><a href="/wiki/Igbo_highlife" title="Igbo highlife">Igbo highlife</a></li></ul></li> <li><a href="/wiki/Hipco" title="Hipco">Hipco</a></li> <li><a href="/wiki/Hiplife" title="Hiplife">Hiplife</a></li> <li><a href="/wiki/Isicathamiya" title="Isicathamiya">Isicathamiya</a></li> <li><a href="/wiki/Jaiva" title="Jaiva">Jaiva</a></li> <li><a href="/wiki/Jit" title="Jit">Jit</a></li> <li><a href="/wiki/J%C3%B9j%C3%BA_music" title="Jùjú music">Jùjú</a></li> <li><a href="/wiki/Kadongo_Kamu" title="Kadongo Kamu">Kadongo Kamu</a></li> <li><a href="/wiki/Kidandali" title="Kidandali">Kidandali</a></li> <li><a href="/wiki/Kizomba" title="Kizomba">Kizomba</a></li> <li><a href="/wiki/Kuduro" title="Kuduro">Kuduro</a></li> <li><a href="/wiki/Kwaito" title="Kwaito">Kwaito</a></li> <li><a href="/wiki/Kwela" title="Kwela">Kwela</a></li> <li><a href="/wiki/Logobi" title="Logobi">Logobi</a></li> <li><a href="/wiki/Madiaba" title="Madiaba">Madiaba</a></li> <li><a href="/wiki/Mahraganat" title="Mahraganat">Mahraganat</a></li> <li><a href="/wiki/Makossa" title="Makossa">Makossa</a></li> <li><a href="/wiki/Marabi" title="Marabi">Marabi</a></li> <li><a href="/wiki/Marrabenta" title="Marrabenta">Marrabenta</a></li> <li><a href="/wiki/Maloya" title="Maloya">Maloya</a></li> <li><a href="/wiki/Mbalax" title="Mbalax">Mbalax</a></li> <li><a href="/wiki/Mbaqanga" title="Mbaqanga">Mbaqanga</a></li> <li><a href="/wiki/Mbube_(genre)" title="Mbube (genre)">Mbube</a></li> <li><a href="/wiki/Morna_(music)" title="Morna (music)">Morna</a></li> <li><a href="/wiki/Moroccan_pop" title="Moroccan pop">Moroccan pop</a></li> <li><a href="/wiki/Motswako" title="Motswako">Motswako</a></li> <li><a href="/wiki/Muziki_wa_dansi" title="Muziki wa dansi">Muziki wa dansi</a></li> <li><a href="/wiki/Ndombolo" title="Ndombolo">Ndombolo</a></li> <li><a href="/wiki/Njuup" title="Njuup">Njuup</a></li> <li><a href="/wiki/Odi_Pop" title="Odi Pop">Odi Pop</a></li> <li><a href="/wiki/Palm-wine_music" title="Palm-wine music">Palm-wine</a></li> <li><a href="/wiki/Ra%C3%AF" title="Raï">Raï</a> <ul><li><a href="/wiki/Ra%C3%AF%27n%27B" title="Raï'n'B">Raï'n'B</a></li></ul></li> <li><a href="/wiki/Sakara_music" title="Sakara music">Sakara</a></li> <li><a href="/wiki/Salegy" title="Salegy">Salegy</a></li> <li><a href="/wiki/Sant%C3%A9_engag%C3%A9" title="Santé engagé">Santé engagé</a></li> <li><a href="/wiki/Sega_(genre)" title="Sega (genre)">Sega</a> <ul><li><a href="/wiki/Seggae" title="Seggae">Seggae</a></li></ul></li> <li><a href="/wiki/Semba" title="Semba">Semba</a></li> <li><a href="/wiki/Shaabi" title="Shaabi">Shaabi</a></li> <li><a href="/wiki/Shangaan_electro" title="Shangaan electro">Shangaan Electro</a></li> <li><a href="/wiki/Singeli" title="Singeli">Singeli</a></li> <li><a class="mw-selflink selflink">Soukous</a></li> <li><a href="/wiki/Music_of_Sudan#The_1930s_up_to_the_1950s_–_Rise_of_popular_music_through_records,_radio_and_music_halls" title="Music of Sudan">Sudanese popular music</a></li> <li><a href="/wiki/Taarab" title="Taarab">Taarab</a></li> <li><a href="/wiki/Tabanka" title="Tabanka">Tabanka</a></li> <li><a href="/wiki/Tarraxinha" title="Tarraxinha">Tarraxinha</a></li> <li><a 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