Zaiko Langa Langa "Nkolo Mboka" Jetez L'éponge - Courage Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Zaiko Langa Langa "Nkolo Mboka" Jetez L'Éponge - Courage mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: Jetez L'Éponge - Courage Country: France Style: African, Soukous MP3 version RAR size: 1611 mb FLAC version RAR size: 1156 mb WMA version RAR size: 1951 mb Rating: 4.6 Votes: 856 Other Formats: RA MOD MPC DXD ASF AIFF WAV Tracklist Hide Credits J.B. Mpiana 1 Courage Zaiko Sos Maya 2 Written-By – N'Yoka Longo* Zizita 3 Written-By – Muaka Bapius Kabobo 4 Written-By – Matima Pa Oki 5 Written-By – N'Yoka Longo* J. Baniongo 6 Written-By – Belobi Nge Ekerme Anzele Muambu 7 Written-By – Zamuangana Mofiti 8 Written-By – Belobi Nge Ekerme Nono 9 Written-By – Zamuangana Bolingo Etumbu 10 Written-By – Dindo Yogo 11 Pot Pourri Companies, etc. Distributed By – Simon Music S.I.P.E. Credits Art Direction – Matima Mixed By – M'Vula N'Yoka Longo, Matima Producer – Prozal, Sim's Productions Production Manager – M'Vula N'Yoka Longo Barcode and Other Identifiers Barcode: 3 440922 932824 Barcode (Distribution Code): CD 050 Other versions Category Artist Title (Format) Label Category Country Year Zaiko Langa Jetez L'Éponge (CD, 180692 New Deal 180692 France Unknown Langa Album) Zaiko Langa New Deal, 66794 Jetez L'Éponge (LP) 66794 France 1989 Langa Carrere Related Music albums to Jetez L'Éponge - Courage by Zaiko Langa Langa "Nkolo Mboka" Orch. Zaiko Langa-Langa - Infidelite Zaiko Langa - L. - Esese Na Ngai Zaïko Langa Langa - Zekete-Zekete Episode Ebele Zaiko Langa Langa - Conseil Various - Lightning Over The River - The Congolese Soukous Guitar Sound Tim Présente Ilo-Pablo Et Le Zaiko-Langa-Langa - Feti Willy Bimi - Génération Langa Langa : Mal aimé Evoloko Jocker Et Langa Langa Stars - La Carte Qui Gagne - Volume II Zaiko Langa Langa - Tout Choc Zaiko Langa Langa Nkola Mboka Vol. 1 Zaiko Langa Langa - Zaiko Langa Langa, J.P. Buse - Souci Ya Zaiko... Zaiko Motema... Orchestre Zaiko Langa Langa - L'Afrique Danse Avec Zaiko Langa Langa.

Copy Link

Recommended publications

Proquest Dissertations
nm u Ottawa L'UniversiW canadienne Canada's university TTTTT FACULTE DES ETUDES SUPERIEURES t=J FACULTY OF GRADUATE AND ET POSTOCTORALES u Ottawa POSDOCTORAL STUDIES L'UmveiMtc? eanaiiienne Cdiidda's university Christa Romaldi AUTEUR DE LA THESE / AUTHOR OF THESIS M.A. (Globalization and International Development) GRADETDEGREE Schoo„„„._.__l of Globalizatio^ n and International Development) A Quiet Revolution: Youth Perception of State and Church Ideology in 2/jl>r£ TITRE DE LA THESE / TITLE OF THESIS „„.„„„„„._.„„„_„.„„.Eric Allina-Pisan_ o CO-DIRECTEUR (CO-DIRECTRICE) DE LA THESE / THESIS CO-SUPERVISOR Meredith Terretta Richard Maclure Gary W- Slater Le Doyen de la Faculte des etudes supeneures et postdoctorales / Dean of the Faculty of Graduate and Postdoctoral Studies A Quiet Revolution? Youth Perception of State and Church Ideology in Zaire Christa Romaldi Thesis submitted to the Faculty of Graduate and Postdoctoral Studies In partial fulfillment of the requirements for the MA degree in Globalization and International Development Globalization and International Development Faculty of Social Sciences University of Ottawa Christa Romaldi, Ottawa, Canada, 2010 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-74200-6 Our file Notre reference ISBN: 978-0-494-74200-6 NOTICE: AVIS: The author has granted a non L'auteur a accorde
[Show full text]
The Genesis of Urban Music in Zaïre
72 JOURNAL OF INTERNATIONAL LIBRARY OF AFRICAN MUSIC THE GENESIS OF URBAN MUSIC IN ZAiRE by KAZADI wa MUKUNA The introduction of foreign musical instruments in Africa by explorers, missionaries and armed forces, before and after the colonial period, brought changes to the musical expression of newly founded urban centers and launched a series of challenges to the African for the quest of a musical identity. In some urban centers, foreign musical elements (instruments, dances, harmonic implications, etc.) brought the decline and denigration of traditional musical genres as well as changes in the world view of the African musician vis-a-vis his own music. In Zaire, the installation of radio stations and recording industries gave rise to an urban musical expression which fed on traditional music for its content, and relied heavily on foreign musical instruments as a medium of interpretation. The organization of the newly created musical expression was governed by norms of aesthetics peculiar to the new urban centers. This phase of the history of urban music in Zaire lasted from the 1930s to the end of 1965. Politically, 1965 marked the end of the First Republic which began June 30, 1960, and ushered in the Second Republic identified with the advent of Mobutu Sese Seko as the head of the state on May 20, 1965. Musically, 1965 denotes the end of the formative period stylistically referred to as tango ya ba-Wendo (the era of the Wendos). The formative period of the urban music in Zaire, characterized by the strong influence of the Cuban rumba on themaringa, was known by the stage name of one of its most prolific composers, guitar players and singers, Antoine Kolosoy "Wendo." In the 1970s this period was referred to in radio and television programs devoted to music from this era as bankolo miziki (the owners of the music).
[Show full text]
Revisedphdwhole THING Whizz 1
McGuinness, Sara E. (2011) Grupo Lokito: a practice-based investigation into contemporary links between Congolese and Cuban popular music. PhD Thesis. SOAS, University of London http://eprints.soas.ac.uk/14703 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. GRUPO LOKITO A practice-based investigation into contemporary links between Congolese and Cuban popular music Sara E. McGuinness Thesis submitted for the degree of Doctor of Philosophy 2011 School of Oriental and African Studies University of London Declaration for PhD thesis I have read and understood regulation 17.9 of the Regulations for students of the School of Oriental and African Studies concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination.
[Show full text]
Congolese Rumba and Other Cosmopolitanisms La Rumba Congolaise Et Autres Cosmopolitismes
Cahiers d’études africaines 168 | 2002 Musiques du monde Congolese Rumba and Other Cosmopolitanisms La rumba congolaise et autres cosmopolitismes Bob W. White Electronic version URL: http://journals.openedition.org/etudesafricaines/161 DOI: 10.4000/etudesafricaines.161 ISSN: 1777-5353 Publisher Éditions de l’EHESS Printed version Date of publication: 1 January 2002 Number of pages: 663-686 ISBN: 978-2-7132-1778-4 ISSN: 0008-0055 Electronic reference Bob W. White, « Congolese Rumba and Other Cosmopolitanisms », Cahiers d’études africaines [Online], 168 | 2002, Online since 22 November 2013, connection on 01 May 2019. URL : http:// journals.openedition.org/etudesafricaines/161 ; DOI : 10.4000/etudesafricaines.161 © Cahiers d’Études africaines Bob W. White Congolese Rumba and Other Cosmopolitanisms Most first-time listeners of Congolese popular dance music comment on the fact that this typically African musical style actually sounds like it comes from somewhere else: “Is that merengue?” or “It sounds kind of Cuban”. Given that since the beginning of Congolese modern music in the 1930s, Afro-Cuban music has been one of its primary sources of inspiration, this is obviously not a coincidence. In historical terms, it is probably more accurate to say that Cuba and other Caribbean nations have been inspired by the musical traditions of Africa, though this is not the focus of my article. While research on the question of transatlantic cultural flows can provide valuable information about the roots and resilience of culture, I am more interested in what these flows mean to people in particular times and places and ultimately what people are able to do with them, both socially and politically.
[Show full text]
Popular Music and Political Consciousness in Congo-Zaire
Listening Together, Thinking out Loud: Popular Music and Political Consciousness in Congo-Zaire BOB W. WHITE 41 (2): 54-74. 41 (2): Abstract: This text argues that by watching people who listen to music, we can understand the unfolding of political events in the popular imagination in the Democratic Republic of Congo. Because listening to music in this context is very often a social activity, music fans make associations MUSICultures MUSICultures between their individual experiences and the political history of their country, at times articulating a new political consciousness as something emergent. After presenting three examples of this political “prise de conscience” during the Mobutu regime—the beginning of opposition, the period of structural adjustment and the fall of the regime—I analyze the relationship between political consciousness and popular music via a discussion of interpersonal listening: listening together, thinking out loud. Résumé : Le propos de cet article est qu’en observant les gens qui écoutent de la musique, nous pouvons comprendre le déroulement des évènements politiques de la République démocratique du Congo. Écouter de la musique dans ce contexte étant très une activité sociale, les auditeurs font souvent des liens entre leurs expériences individuelles et l’histoire politique de leur pays, en présentant parfois leur nouvelle conscience politique comme quelque chose d’émergent. Après avoir présenté trois exemples de cette « prise de conscience » politique sous le régime de Mobutu – le début de l’opposition, la période d’ajustement structurel et la chute du régime – j’analyse la relation entre la conscience politique et la musique populaire à travers une discussion interpersonnelle : écouter ensemble, penser à haute voix.
[Show full text]
Catalogue Officiel Fespaco 2013 - 3
SOMMAIRE CONTENTS I. Comité national d’organisation VII. Panorama des cinémas d’Afrique et The National Organizing Committee des Caraïbes - Panorama longs métrages II. Allocutions/Speeches - Panorama courts métrages - Edito du Ministre - Panorama films documentaires - Edito du Président d’honneur - Edito de l’Invitée d’honneure du CNO VIII. L’Afrique vue par ... - Edito du Maire de Ouagadougou - Edito du Délégué général du FESPACO IX. Hommages III. Compétiion longs métrages X Hommages cinéma gabonais - Le jury - Films en compétition XIII.Palmares des Etalons de Yennenga IV. Compétiion courts métrages XIV. Index des films - Le jury - Films courts métrages XV. Remerciements - Films des écoles XVI. Ours V. Compétiion films documentaires - Le jury - Films en compétition VI. Compétiion films de la Diaspora - Le jury -Films en compétition Catalogue officiel Fespaco 2013 - 3 Comité d’organisation LES DÉLÉGUÉS ARTISTIQUES Délégué artistique/FESPACO Ardiouma SOMA Président, Délégué Général, Jean Claude DIOMA Michel OUEDRAOGO Délégué artistique/MICA LES CONSEILLERS Suzanne KOUROUMA Clément TAPSOBA Nissi Joanny TRAORE Mme Rosalie BALIMA Coordinateur des questions de rencontres Coordinateur des questions de jurys et Coordinatrice des questions culturelles professionnelles, des publications et des prix spéciaux) et touristiques) des débats forum) Chef d’Escadron Yaya TRAORE Mme Evelyne BOUGOUMA M. Djibril BOUNDI Coordinateur des questions de cérémonies Coordinatrice des questions d’embellissement Coordinateur de la galerie marchande d’ouverture et
[Show full text]
ETD Template
THE RECONTEXTUALIZATION OF AFRICAN MUSIC IN THE UNITED STATES: A CASE STUDY OF UMOJA AFRICAN ARTS COMPANY by Anicet Mudimbenga Mundundu BA, Université Nationale du Zaire, 1981 MA, University of Pittsburgh, 1995 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2005 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Anicet Mudimbenga Mundundu It was defended on 18 April, 2005 and approved by Dr. Nathan T. Davis, Ph.D., Professor of Music Dissertation Co-Chair Dr. Akin O. Euba, Ph.D., Professor of Music Dr. Matthew Rosenblum, Ph.D., Professor of Music Professor (Emeritus) J. H. Kwabena Nketia, Professor of Music Dissertation Co-Chair ii © Anicet M. Mundundu 2005 iii THE RECONTEXTUALIZATION OF AFRICAN MUSIC IN THE UNITED STATES: A CASE STUDY OF UMOJA AFRICAN ARTS COMPANY Anicet M. Mundundu, PhD University of Pittsburgh, 2005 This dissertation is about the opportunities and challenges posed by the presentation and interpretation of African music performances by African immigrants in Western contexts in general and the United States in particular. The study focuses on the experience of the Umoja African Arts Company, a Pittsburgh based repertory dance ensemble that performs music and dance from various parts of Africa. Although much has been observed on the contribution of Africa to the development of the American music and dance experience, there is a growing interest among African scholars to question the relevance, impact and the analysis of the emerging efforts of new African immigrants in the promotion of African music in changing contexts overseas where creative individuals have to reconfigure new ways of interpreting and presenting cultural resources to diverse audiences.
[Show full text]
Benoît XVI, Un Pape De Transition Ébranlé Par Des Scandales
i n t e r LEn plus Fort tiragaE | LA plust FortE VENTiE | LA pluso FortE au DIEnNCE | DE tous aLES TEMPS l www.lesoftonline.net SINCE 1989 www.lesoft.be N°1215 | 1ÈRE ÉD. MERCREDI 20 FÉVRIER 2013 | 24 PAGES €6 $7 CDF 4500 | FONDÉ À KINSHASA PAR TRYPHON KIN-KIEY MULUMBA Cohésion C’est sur pied de l’art. 69 que les concertations auront lieu... dans à pas les deux Chambres? de géant ous respect, arbitrage, garant. où on annonce que «le invoquent la Symbole de l’Unité train des concertations a Constitution nationale, respect de la démarré avec les pré- et réclament Constitution, garant de contacts initiés» au siège cet article l’intégrité territoriale de la MP, on insiste sur T69. Lisons ce texte: et de la souveraineté le fait que le team autour nationale, l’arbitre du du Secrétaire général «Le Président de «ne consulte pas mais la République est fonctionnement régulier du pays». Puis: «Kabila veut préparer un cliché le Chef de l’État. Il clair et net à mettre à la représente la Nation a prêté serment le 20 décembre 2011. Voici ce disposition du Chef de et il est le symbole de l’État». Et, à nouveau, l’Unité nationale». «Il serment fait devant les plus hauts magistrats du c’est l’art. 69 sur pied veille au respect de la duquel ces réunions vont Constitution». «Il assure, pays, ceux de la Cour Suprême de Justice être conoquées. Lequel par son arbitrage, le article fait du Président fonctionnement régulier faisant fonction de Cour Constitutionnelle, de la République «le ga- des pouvoirs publics et rant de l’Unité nationale, des Institutions ainsi et devant les Chefs coutumiers venus des de la bonne marche des que la continuité de Institutions, l’arbitre du l’État».
[Show full text]
The-Rumba-Kings-Press-Kit-June-2021-ENG.Pdf
OVERVIEW GENRE: Documentary Film RUNNING TIME: 94 minutes FORMAT: HD ASPECT RATIO: 16:9 DIRECTOR: Alan Brain - [email protected] PRODUCER: Monica Carlson - [email protected] LANGUAGES: French and Lingala (with English Subtitles) FOREIGN VERSION: Subtitles for the film are available in Spanish, English and French. PRODUCTION COMPANY: Shift Visual Lab LLC CONTACT: [email protected] WEBSITE: www.therumbakings.com FULL PRESS KIT: www.therumbakings.com/press THE RUMBA KINGS - PRESS KIT PAGE 2 "WE HAVE DIAMONDS, GOLD, COLTAN, AND ALL THAT. BUT MUSIC IS ALSO WEALTH." Simaro Lutumba THE RUMBA KINGS - PRESS KIT PAGE 3 PRESS RELEASE March 20, 2021 Our connection with the giant country in the center of Africa known as the Democratic Republic of the Congo is stronger than we may imagine. We all carry a bit of Congo in our pockets. All smartphones use a metal called coltan and Congo holds 80% of the world’s reserve of this mineral. Nevertheless, despite having some of the world's largest mineral deposits of coltan, cobalt, copper, gold, and diamonds, Congo has rarely seen real prosperity. The mining of those minerals has only brought division, wars and poverty to the Congolese people. What has brought them unity, happiness and hope is something else, something that was always there. Literally, from the beginning of time… The documentary film The Rumba Kings shows us that the real treasure of Congo has always been its music, specifically Congolese rumba music, the rhythm that helped Congo fight colonial oppression, that became the soundtrack to the country’s independence and that took Africa by storm with its mesmerizing guitar sounds.
[Show full text]
Beyond Memories Text Final LS.Indd
BEYOND MEMORY RECORDING THE HISTORY, MOMENTS AND MEMORIES OF SOUTH AFRICAN MUSIC From the diary of Max Mojapelo Edited by Sello Galane AFRICAN MINDS Published in 2008 by African Minds 4 Eccleston Place Somerset West 7130 South Africa www.africanminds.co.za Originated by KAMR – Kgapana African Music Records 12 Rio Grande Street, Westenburg, 1699, Polokwane, SA [email protected] P.O. Box 968 Oliefantsfontein, 1665 Copyright © 2008 by Thamagana Maxwell Mojapelo All rights are reserved. No part of this book may be used or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publisher. ISBN 978-1-920299-28-6 Produced by COMPRESS.dsl www.compressdsl.com Proofread by Karen van Eden Cover images: 2 1 3 1. Chris Ledochowski / South (africanpictures.net) 2. Motlhalefi Mahlabe / South (africanpictures.net) 4 3. Paul Weinberg / South (africanpictures.net) 4. Rodney Barnett / South (africanpictures.net) Great care has been taken to acknowledge all sources used in this book. If, through an inadvertent oversight on our part, any information has been used without acknowledgement thereof, we undertake to correct the matter as soon as it is brought to our attention. Equal care has been taken to spell correctly the names of bands, their members and other people who appear in this book. However, should you note any incorrect spelling(s), please e-mail the publisher on [email protected] and we shall make the necessary corrections to future editions.
[Show full text]
African Music Vol 7 No 4(Seb)
EVOLUTION OF URBAN MUSIC IN ZAIRE 1 9 7 5 -1 9 9 5 73 THE EVOLUTION OF URBAN MUSIC IN DEMOCRATIC REPUBLIC OF CONGO DURING THE 2nd & 3rd DECADES (1975-1995) OF THE SECOND REPUBLIC — ZAiRE by KAZADIWA MUKUNA Elsewhere, 1 I argue that the implementation of the quota system in higher education in the 1960s was one of the catalysts for the rise of a large new generation of musicians and musical ensembles in Zaire during the first decade of the Second Republic. In the same source I assert that the musical style of the younger generation of musicians was laden with borrowings of phrasing referents1 2 (time-line patterns) and melodic formulae from ethnic music. Unlike the first, the last two decades of the Second Republic, stigmatized by the sagging economy and die decadence of the political structure, sent a series of negative impacts to all facets of the national life, culminating in the closing of the chapter on President Mobutu’s thirty-two year regime (May 20, 1965 through May 17,1997). The failed attempt by the government to eradicate tribalism reinforced instead ethnic consciousness, whose lasting effect continues to be felt well after the May 17 liberation. While becoming indifferent to the political regime and its leadership, musicians remained faithful to their respective ethnic traditions, and reflected this ethnic awareness in the newly established style. These two realities prevailed during the last two decades of the Second Republic as sources of inspiration as the situation compounded. What became a deplorable condition was sung about in a new genre of lyrics filled with a message of hope spiked with holy and biblical names, 3 encouraging the population to pray for quick deliverance from the miseries to which it had been submitted for such a long period.
[Show full text]
“The Fox Takes His Food in the Village” Folkloric Music, Wit and Ownership in Kinshasa
“The fox takes his food in the village” Folkloric Music, Wit and Ownership in Kinshasa Africa Colloquium Humboldt University Berlin Margot Luyckfasseel – [email protected] Kinshasa’s music “Modern” or “popular” music (f.e. Papa Wemba, Koffi Olomide) Religious music (f.e. GAEL, Moise Mbiye) “Folkloric” or “traditional” music (f.e. Kintueni Star, Sobanza) “World” or “research” music (f.e. Jean Goubald, Lokua Kanza) “Yankee” or “décalé” music (f.e. Kotazo, Mbeya Mbeya) Sobanza Mimanisa headquarters (Selembao Market) Folkloric music in the Belgian Congo Pushed on Radio Congo Belge (Grabli 2019) Idea of primitive Africa Colonially digestible <> Popular music: unruly and part of Black Atlantic (Gilroy 1993) Mobutu (1965-1997) - Authenticité Animation politique “At the time of Mobutu, it provided [money]. Here, now nobody takes care of you. But Mobutu took care of that. Some people bought parcels, they left even, to Europe, they did tours.I am exhausted. In Manianga there were groups like GTRAMA, they have become old, they are no longer capable. Will he [a younger artist] have the heart, the means? Matanga [funerals] do not bring in anything. Manianga [Kongo subgroup] are stingy, aren’t they.” (Papa Mansia, Kinshasa 2019) “Modern” vs. “traditional” music? Bob White (2008:32) Modern: language (Lingala) + Instrumentation (electric guitar) Tom Salter (2011:4) Modern: “positive disposition towards change and newness” + bigger “African” modernity debate (Comaroffs, Ferguson, …) The birth of popular music “As the Congolese rumba matured, its language began to change. A song in Spanish still came out from time to time, but singers of Kikongo, Tshiluba, and Swahili turned increasingly to the emerging vernacular, Lingala […] The music’s popularity spread Lingala to the farthest reaches of the two Congos.
[Show full text]