31:
390:
302:, emerged as a seminal innovation. Throughout the sebene, the atalakus' primary function is to galvanize people to dance, which they achieve through an amalgam of shouts, sung refrains, and vocal embellishments. In addition to vocal exhortations, the atalakus are instrumentalists and dancers, using a shaker to enhance the rhythmic pulse while also intermittently leaving the microphone to join the dance ensemble.
412:
is also often cited as a pioneering figure in the development of sebene, although some trace its origins further back to transitional genres like the kebo. According to
Stewart, the segment where most dancing transpired was called the sebene. One Lingala dictionary defines "sebene" as dance, though
310:
The origin of sebene is a subject of contentious debate, with differing attributions and perspectives. Guy-Léon Fylla and Clément
Ossinondé credit Antoine Kasongo's Odéon Kinois Orchestra with pioneering the style in 1947, while Congolese musicologist Audifax Bemba posits that guitarist
938:
172:'s "African Drama and Performance," after the ending of the last line of the chorus by singers, "the lead guitarist then kicks off the seben with a guitar rill that is slightly accelerated and is soon joined by the drummer's snare, the
167:
During the instrumental section of sebene, the rhythmic section momentarily recedes, creating an open space for the proliferation of intricate, syncopated guitar refrains. As expounded in John Conteh-Morgan and
467:
expression for "look here, look at me," plays a crucial role in creating an atmosphere of excitement during sebene performances. Their improvisational prowess, combining shouts, melodies, and vocal
1270:
315:, known as Jhimmy L'hawaĂŻenne, introduced sebene during his brief stint within the orchestra. Conversely, British musicologist Gary Stewart contends that sebene made its debut appearance in
115:
was adapted from the
English numeral seven. Although this attribution ostensibly ensues from folk etymology, it is believed that Congolese musicians assimilated this terminology from the
1407:
323:, wherein Wendo sings his affection for a woman confronting familial dissent. Bowane advises Wendo that his rhetoric is futile, and they should abscond with her to
214:
to conclude an improvisational passage before recommencing vocalization or facilitating the alternation for the expression of another instrument, customarily the
291:, typically enumerating as 1, 2, 3, 4, and so forth. In the context of African music, chord changes, or degree shifts, typically occur every two or four pulses.
999:
1025:
30:
471:, aims to incite both the audience and fellow musicians to lose themselves in the music, despite their relative obscurity compared to other band members.
413:
the exact point of its linguistic assimilation remains uncertain. Regardless of its provenance, sebene burgeoned in popularity during the 1950s, with
135:("seventh" → "seben")". Their music was believed to instill a sense of suspense conducive to dance. While alternate descriptive designations (e.g., "
1417:
351:
1336:. Austin, Texas, United States: African and Afro-American Studies and Research Center, University of Texas [at Austin. 1999. pp. 158–164.
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1271:"Père fondateur du « Sébène », Pépé Felly Manuaku : « les médailles marquent la reconnaissance d'une carrière »"
1244:
294:
Although old
Congolese rumba pieces from the 1940s-1960s did not feature atalakus, the introduction of the atalaku in 1982, pioneered by
91:
Guitarists use a combination of lead and rhythm guitar to produce a distinct sound that is accompanied by vocalists, including an
1348:
1002:[Congo-Brazzaville - Guy LĂ©on Fylla: The memory of a great legend of Congolese music 4 years after his disappearance].
417:
emerging as a leading practitioner, popularizing a primarily guitar-based sebene explicitly associated with physical release (
382:: guitar, saxophone, two-bell trumpet, chromatic accordion, and piano. Congolese guitarists enthusiastically incorporated the
331:
into a guitar solo. According to
Stewart, this instance popularized the term "sebene" as a prolonged instrumental interlude.
334:
Nonetheless, certain
Congolese musicians propose an alternative origin, suggesting that sebene originated with Coastmen from
624:
597:
1000:"Congo-Brazzaville - Guy Léon Fylla: Le souvenir d'une grande légende de la musique congolaise 4 ans après sa disparition"
1331:
386:
into their solos, frequently signaling one another with exclamations of "seven," which evolved into the term "sebene."
834:
543:
60:
take the lead in the dance. It is characterized by the repetition of a specific number of notes during the passage of
1062:
969:
747:
851:
1192:
689:
1422:
1273:[Founding father of "Sébène", Pépé Felly Manuaku: "the medals mark the recognition of a career"].
253:
242:
436:. While song sections may exhibit diverse rhythms and tempos, the cavacha rhythm, characterized by its
409:
370:
songs in bars (often rudimentary or constructed from reeds) and on street corners, hosting traditional
1412:
878:
445:
394:
299:
223:
1146:
836:
Modernity's Spiral: Popular
Culture, Mastery, and the Politics of Dance Music in Congo-Kinshasa
722:. Van Nuys, Los Angeles, California, United States: Alfred Music Publishing. 2008. p. 17.
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81:
1095:[Section 1.-1930-1950: from agbaya to the era of pioneering modern popular music].
1432:
602:. Heidelberg, Baden-WĂĽrttemberg, Germany: Springer International Publishing. p. 352.
379:
312:
180:
116:
61:
49:
812:. Van Nuys, Los Angeles, California, United States: Alfred Music Publishing. p. 15.
52:. It is usually played towards the end of the song and is the dancing section where the
464:
441:
398:
295:
100:
1026:"Les deux premiers grands orchestres de cuivres de Brazzaville et de Kinshasa en 1940"
389:
1401:
1093:"Section 1.-1930-1950: de l'agbaya à l'ère de la musique populaire moderne pionnière"
448:, is credited with popularizing the cavacha rhythm, which is played primarily on the
414:
383:
347:
316:
280:
197:
191:
132:
69:
57:
34:
1028:[The first two major brass orchestras of Brazzaville and Kinshasa in 1940].
1245:"Les immortelles chansons d'Afrique : « Obi » de Felix Manuaku waku"
468:
437:
371:
343:
339:
320:
159:
stands as the oldest and pervasive terminology extensively preferred by musicians.
103:
is extensive in sebene and gives
Congolese rumba a dynamic and energetic rhythm.
1375:
1305:
1165:
906:
807:
777:
717:
651:
570:
542:
Clark, Duncan Antony; Lusk, Jon; Ellingham, Mark; Broughton, Simon, eds. (2006).
516:
489:
1380:. Durham, North Carolina, United States: Duke University Press. pp. 85–91.
1353:. Madison, Wisconsin, United States: University of Wisconsin Pres. p. 166.
1310:. Durham, North Carolina, United States: Duke University Press. pp. 56–59.
782:. Durham, North Carolina, United States: Duke University Press. pp. 59–61.
656:. Durham, North Carolina, United States: Duke University Press. pp. 53–58.
494:. Durham, North Carolina, United States: Duke University Press. pp. 56–59.
429:
355:
338:
who were resettled in LĂ©opoldville by colonialists after the first surge of the
335:
274:
267:
260:
235:
211:
176:
marakas (now acting as a rattle), and a random scream from somewhere off-mic".
120:
95:
who energetically engages the audience and may call out to sponsors. The use of
65:
53:
943:. Bloomington, Indiana, United States: Indiana University Press. p. 203.
575:. Cambridge, England, United Kingdom: Cambridge University Press. p. 57.
449:
350:
factories. These
Coastmen founded the Excelsior Orchestra in the port town of
1142:
856:. New York City, New York State, United States: Chartwell Books. p. 74.
911:. Durham, North Carolina, United States: Duke University Press. p. 56.
288:
227:
1170:. Cambridge, United Kingdom: Cambridge University Press. pp. 131–152.
1134:
210:
This constitutes a dynamic and commanding musical interlude, allowing the
629:. Thames, Oxfordshire United Kingdom: Taylor & Francis. p. 527.
367:
324:
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128:
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96:
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319:'s 1948 critically acclaimed hit "Marie-Louise," featuring a duet with
219:
173:
92:
73:
424:
Three essential elements converged to create a successful sebene: the
17:
1247:[The immortal songs of Africa: "Obi" by Felix Manuaku waku].
599:
Indigenous
African Popular Music, Volume 1: Prophets and Philosophers
453:
203:
1195:[Atalaku Nono Monzuluku: pioneer, imperial, unpredictable].
1064:
Rumba on the River: A History of the Popular Music of the Two Congos
440:
name, remains remarkably consistent across groups and time periods.
287:
The musical beat is delineated through a sequential count akin to a
388:
363:
328:
215:
752:. Bloomington, Indiana, United States: Indiana University Press.
515:
Ellingham, Mark; Trillo, Richard; Broughton, Simon, eds. (1999).
839:. Montreal, Quebec, Canada: McGill University. pp. 141–142.
131:) during the early 1900s and "whose music was interspersed with
937:
Conteh-Morgan, John; Olaniyan, Tejumola, eds. (October 2004).
746:
Conteh-Morgan, John; Olaniyan, Tejumola, eds. (October 2004).
37:
is often credited for popularizing and revolutionizing sebene.
548:. London, England, United Kingdom: Rough Guides. p. 77.
521:. London, England, United States: Rough Guides. p. 460.
853:
Afropop!: An Illustrated Guide to Contemporary African Music
245:. There are five main cadences that characterize sebene:
1307:
Rumba Rules: The Politics of Dance Music in Mobutu's Zaire
1193:"Atalaku Nono Monzuluku: pionnier, impérial, imprévisible"
908:
Rumba Rules: The Politics of Dance Music in Mobutu's Zaire
779:
Rumba Rules: The Politics of Dance Music in Mobutu's Zaire
653:
Rumba Rules: The Politics of Dance Music in Mobutu's Zaire
491:
Rumba Rules: The Politics of Dance Music in Mobutu's Zaire
238:, for which it then serves as a substratum for execution.
85:
1217:
Seaman, Jacobs Odongo; Omollo, Sammy (20 January 2024).
596:
Salawu, Abiodun; Fadipe, Israel A., eds. (31 May 2022).
545:
The Rough Guide to World Music: Africa & Middle East
1277:(in French). Kinshasa, Democratic Republic of the Congo
111:
According to most Congolese musicologists, the term
1219:"Atalaku: The rubbish that gave Soukous its bounce"
623:Yankah, Kwesi; Peek, Philip M., eds. (March 2004).
719:Guitar Atlas: Guitar Styles from Around the World
155:") are used to delineate this musical interlude,
48:, is an instrumental section commonly played in
1251:(in French). Brazzaville, Republic of the Congo
518:World Music: Africa, Europe and the Middle East
456:, lending a solid, driving feel to the rhythm.
690:"Le sébène dans la musique congolaise moderne"
277:: Corresponding to the I–VII–IV–V progression.
241:The degree recurrently prevalent in a song is
1408:Music of the Democratic Republic of the Congo
809:Africa: Your Passport to a New World of Music
263:: Corresponding to the I–IV–V–IV progression.
8:
692:[Sébène in modern Congolese music].
270:: Corresponding to the I–V–IV–V progression.
99:, rapid chord changes, atalaku, and melodic
1350:Congo's Dancers: Women and Work in Kinshasa
1167:Leisure and Society in Colonial Brazzaville
366:'s Excelsior and enlivened weekends with
998:Ossinondé, Clément (27 September 2019).
463:, whose name purportedly stems from the
283:: Corresponding to the V–IV progression.
187:, the successive notes would encompass:
29:
1191:Kalome, Botowamungu (15 January 2024).
1024:Ossinondé, Clément (7 September 2019).
877:Greenstreet, Morgan (7 December 2018).
480:
1299:
1297:
1295:
1293:
1291:
1269:M'Buy, Saint Hervé (2 February 2016).
327:. Bowane then exclaims "Yoka sebene,"
1119:"The Genesis of Urban Music in ZaĂŻre"
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572:The Cambridge Companion to the Guitar
7:
879:"Seben Heaven: The Roots of Soukous"
712:
710:
683:
681:
679:
677:
675:
673:
569:Coelho, Victor, ed. (10 July 2003).
27:Congolese rumba instrumental section
1347:Braun, Lesley Nicole (2023-01-24).
432:style, and the exclamations of the
688:Bemba, Audifax (10 October 2023).
378:dance performances, with European
25:
1164:Martin, Phyllis (8 August 2002).
626:African Folklore: An Encyclopedia
119:guitar tradition prevalent among
1243:Mafina, Frédéric (2 July 2021).
1377:African and Diaspora Aesthetics
1333:Research in African Literatures
1304:White, Bob W. (27 June 2008).
905:White, Bob W. (27 June 2008).
776:White, Bob W. (27 June 2008).
650:White, Bob W. (27 June 2008).
488:White, Bob W. (27 June 2008).
1:
1418:Guitar performance techniques
940:African Drama and Performance
883:daily.redbullmusicacademy.com
749:African Drama and Performance
88:" or its ordinal rendition.
1061:Stewart, Gary (5 May 2020).
833:White, Bob Whitman (1998).
342:, to work in the inaugural
1449:
1117:wa Mukuna, Kazadi (1992).
123:migrants who resettled in
72:, which gives rise to the
354:on the north bank of the
1374:Nuttall, Sarah (2006).
252:: Corresponding to the
1135:10.21504/amj.v7i2.1945
806:Eyre, Banning (2002).
428:rhythm, a distinctive
406:
38:
970:"Les temps au sebene"
850:Barlow, Sean (1995).
393:During his time with
392:
317:Antoine Wendo Kolosoy
33:
298:and Bébé Atalaku of
254:I–IV–V–I progression
80:," derived from the
1249:www.adiac-congo.com
358:. This group was a
1275:www.mediacongo.net
410:FĂ©lix Manuaku Waku
407:
39:
1387:978-0-8223-3907-6
1360:978-0-299-34030-8
1317:978-0-8223-4112-3
1177:978-0-521-52446-9
1074:978-1-78960-911-0
979:(in French). 2020
950:978-0-253-21701-1
918:978-0-8223-4112-3
863:978-0-7858-0443-7
819:978-0-7390-2474-4
789:978-0-8223-4112-3
759:978-0-253-21701-1
729:978-0-7390-5563-2
663:978-0-8223-4112-3
636:978-1-135-94873-3
609:978-3-030-97884-6
582:978-0-521-00040-6
555:978-1-84353-551-5
528:978-1-85828-635-8
501:978-0-8223-4112-3
446:ZaĂŻko Langa Langa
444:, the drummer of
401:was a pioneer of
395:ZaĂŻko Langa Langa
300:ZaĂŻko Langa Langa
170:Tejumola Olaniyan
16:(Redirected from
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125:LĂ©opoldville
121:West African
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1413:Brazzaville
1199:(in French)
1099:(in French)
1032:(in French)
1006:(in French)
696:(in French)
430:lead guitar
419:défoulement
356:Congo River
336:West Africa
212:solo guitar
66:major chord
1402:Categories
1281:2024-04-26
1255:2024-04-26
1229:2024-04-19
1203:2024-04-19
1103:2024-04-26
1036:2024-04-26
1010:2024-04-26
888:2024-04-26
700:2024-04-26
475:References
228:saxophones
183:, for the
1143:0065-4019
1097:Bokundoli
1004:Congopage
694:Congopage
289:metronome
250:Half-time
236:keyboards
232:clarinets
224:woodwinds
206:: Fa, Sol
198:7th chord
145:animation
117:palm-wine
107:Etymology
97:arpeggios
84:numeral "
1151:30249807
983:26 April
368:highlife
329:segueing
325:Kingabwa
243:I, IV, V
220:trumpets
174:atalakus
153:ambiance
141:saccadée
137:chauffée
129:Kinshasa
68:and one-
1428:Harmony
1223:Monitor
465:Kikongo
461:atalaku
454:hi-hats
434:atalaku
426:cavacha
403:atalaku
376:maringa
360:replica
348:Belgian
306:History
259:Double
222:), the
93:atalaku
82:English
74:Lingala
1433:Melody
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268:stroke
261:stroke
234:), or
157:sebene
113:sebene
78:sebene
64:: one
42:Sebene
18:Sébène
1147:JSTOR
973:(PDF)
450:snare
372:Kongo
364:Accra
344:Dutch
216:brass
200:: Sol
192:Tonic
127:(now
86:seven
46:seben
1382:ISBN
1355:ISBN
1312:ISBN
1172:ISBN
1139:ISSN
1069:ISBN
985:2024
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459:The
421:).
352:Boma
346:and
151:," "
147:," "
143:," "
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452:or
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