Mabele elisi biography samples
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Congolese Euphony / Re: FABREGAS Beginning FALLY Catch AT AFFRIMA IN USA
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The State of Traditional Music in DR.CONGO
Traditional music: Concept and Controversy
In Francophone Africa, there is a controversy among experts regarding the definition of "traditional music" versus "folk music." Some experts believe that, in the name of a tradition which is dynamic by essence, traditional music belongs to a particular region but is in constant evolution because of the challenges of urbanization and modernity.
On the other hand, the term “folk music” designates ‘tribal’ music confined as is in its original terroir. Other specialists think just the opposite. To make things easier, we will refer to the latter meaning of traditional music.
Therefore, traditional music is synonym with "tribal" music in this text. Traditional music varies according to different life events: birth, including birth of twins, rites of passage, the dynastic rituals, planting and hunting, war, death and bereavement.
Research on traditional music
Traditional music has been extensively studied in conjunction with the vehicular and vernacular national languages because of the natural link between these languages and music.
So far, the most important themes addressed by scientists and academics from the Democratic Republic of Congo institutions (Faculty of Anthropology and th
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Afropop Worldwide
Photos by Attis Clopton, words by Morgan Greenstreet.
Read a full transcription of the interview here.
The Congolese superstar Fally Ipupa strides on stage at the Apollo Theater, dressed in a glittering silver suit and flanked by three singers in white. The expectant crowd explodes in a flash of elevated cellphone videography and screams.
From the first notes, his voice is strikingly clear, perfectly in tune, as seductive as it is energetic. When the band turns up the heat with “Original” kicking into the first sebene—the dance formula of Congolese popular music of the last half century—Fally places the mic into the waistband of his pants, sheds his jacket and focuses on tight, controlled movements. His dancing is unnerving, disarming, potent. The microphone twists in the front of his pants as he winds his waist, sending the fans in the first rows in paroxysms of enjoyment.
I met up with Fally for the second time three days before the show, at the studios of Sahara Reporters in midtown Manhattan. He had just arrived in New York from Canada, where he had played packed shows earlier that week with his full band, direct from Congo. Ahead lay the Apollo show and a multicity U.S. tour throughout the summer. Born and raised in Kinshasa,