SOUKOUSS (DRC)

In spite of Joseph Conrad’s representation in Heart Of Darkness, Congo has been a historically spectacular place in Africa. Congo was one of Belgian colonies in the 19th century. It also was one of the leading zones of African independence struggle with activists like Patrice Lumumba.Congo is one of Africa’s largest countries and its river basin has an estimated capacity of providing the whole of Africa with hydro electric power. Congo also had one of Africa’s longest serving dictators until the late 90s,Mobutu Sse Sse Seko.In the aftermath of his demise, warring factions pillaged the East of the country. At a point in time it had a total of five other African countries involved in its internal dilemma. Mineral ‘hunters’ also had immense interest in the endowment of Congo. Congo apparently has one of the largest mineral deposits on planet earth. Congo was also the first African country to establish a mobile phone network. A deep-forested area with hardly any road network, Congo mainly relies on airports in various parts of the country.

Of great importance however was her contribution to African Popular Music.Kariuki (2003) has earmarked the vitality of African popular Music. Congolese music has had remarkable influence all over Africa since the 1940s and 50s.As a result of cross border interaction the music of Congo spilled over to the rest of Africa in large amounts. The industry at home was graced with a favorable Belgian (Colonial master) policy towards the arts, perhaps as a way of keeping the populace from autonomous ambitions. Radio stations and recording studios arrived before independence making it easy for foreign music (especially Latino music) on stations to shape the evolution of the local music.

Radio Belge Congo (Belgian Congo) offered a regular diet of Caribbean and Latino music. This mediation of Popular culture led to the fusion of traditional with foreign musics in the music of Congo. In addition recording studios functioned as production factories for the records. Soukouss began this way. Franco, Joseph ‘Grand Kalle’ Kabaselle and Tabuley opened its chapter. Before them was an amalgam of local traditions in a hybrid language ‘lingala’ employing local instruments like the ‘sanza/likembe’. Guitars (lead, rhythm and bass) were conspicuous. The congas were entwined in its structure as well. These provided a fantastic background for the vocals and the accompanying lyrics.

As a musical genre from Central Africa (Democratic Republic of Congo which became Zaire and went back to its original name in the 90s.) it flourished in the Congolese music industry that was influenced by music from Cuba (rumba) and to some extent highlife from West Africa (Ghana and Sierra Leone) at the beginning of the last century. Soukouss is made up of a two or sometimes three part structure of a slow introduction that modulates into a tight and ecstatic final called the ‘sebene’. This part is meant for the climax, which is in consensus with the dance accompanying the song. Instruments used in creating soukouss include: horns, congas, rhythm/lead/bass guitars, brass and woodwind sections and the drums. The vocal section of the song has multiple players and could be arranged to have a call and response. There is the animation later as the ‘sebene’ unfolds which is exclamation from the vocalist. The vocalists are either baritone or falsetto singing individuals.

Nightclubs like Franco’s un deux trios’ (one, two, three) nightclub offered space for the music to grow in the public sphere. The live band culture of entertainment in Kinshasa brought sustained life to the new music. Many musicians from Africa moved to Congo because of the thriving scene. Cameroon’s Manu dibango and Angola’s Sam Mangwana found themselves collaborating with many of Congo’s top stars. Congo’s economy was fairly stable and logically allowed for careers to reap financially.

In spite of Congo’s current woes, Congo under Mobutu had political stability until the war to topple him began in the late 90s. This stability helped the subsistence of creativity. As long as the artists did not criticize the establishment a career was tenable. There was also the principle of authenticity advocated for by Mobutu.The local component was emphasized in the music.

The performance is not only an energetic affair but also a fashion show. The performers dress to kill. Latest hairstyles and clothing are compulsory for the average Congolese band. Female dancers gyrate to the rhythms and melodies of the song as the performance evolves. Through the decades Soukouss has maintained the live band formula. The instrumentalists frequently become part of the performance as they dance or take part in animations.

The stage act is extremely dramatic and lends fulfillment to the performance (note: the music is always composed with the performance in mind). Because of the communitarian structure of African Performance, various vocalists sing different parts of the set and even in the band formation there is always diversity.

Franco of the T.P. OK Jazz Band

This crowded performance justifies the presence of the big band ‘orchestra’ that the performers work with. Grand Kalle for instance had African jazz Band with the likes of Tabu Ley and Dr. Nico ; Franco maintained TP (Tout Puissant) OK Jazz band and in the 90s Koffi Olomide fostered Quartier Latin.

Other orchestras were Les Bantouse de la capitale, Kimale, Lipua Lipua and later Tabu Ley’s Afrisa International. Pioneers like Franco often saw their music category as African Jazz. Jazz in America had worked the big band circuit, which was incorporated by their Congolese musical descendants. In the late 70s, new Soukouss forms like Kanda Bongo man’s Techno Soukouss, Kwasa Kwasa (in the 80s), Zaiko , Mutuashi and Ndombolo (in the 90s became prominent.)

Belgium and France later became the recording metropolis for many of these musicians who aspired for global standards, though Tabu Ley recorded in America. Today concert booking of a Congolese outfit is done through Paris or Brussells.Record labels from France such as Celluloid got involved and gave the music an international push. The crowded Congolese industry also served as a standardization avenue in which bands like Loketo, Soukouss Stars and Choc Stars in the 80s and 90s modeled the industry. Icons emerged from the Congolese music industry. Artists like Diblo Dibala have gained global rankings as first class guitar virtuosos.

It was difficult to predict the longevity of Soukouss, as it seemed to be a fad. However it has traversed decades and manifested itself through out Africa. In East Africa there was an influx of Congolese musicians who based in Kenya as a result of the tourist concentration that offered good business for these bands. Super Mazembe and lately Bilenge musica were some of these.

Benga in Kenya and Swahili band music in Tanzania were grossly influenced by Soukouss.In West Africa Manu dibango carried his Soukouss influence to diversify his Makossa sound. In spite of its transformation, the ‘sebene’ has particularly been constant, old stars have gone and new stars have come. Global art forms threaten the displacement of Soukouss.More Congolese artists are taking up hip hop and r&b for instance Lorenzo ‘Kaysha’ Raphael of the ‘world wide chico’ fame and the gospel group Makoma.Papa Wemba one of Soukouss’ luminaries has explored with rappers on his recent albums. These are new trends but the organic structure of Soukouss, which had a good foundation, is likely to remain in spite of these.