Verkys biography definition
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The History Of Benga Music: A Report by Ketebul Music
Since its founding, Ketebul has been focused on ‘Bridge’ artists – the key artists that created certain genre that link the tribal music to modern music. Benga is a great example of a bridge genre and Ketebul has kindly given us permission to publish in full their history of Benga music. Here it is:
Retracing the Benga Rhythm
From simple traditional village entertainment to a national and regional music genre, this is the story of the making of benga music.
Setting the Background
A characteristic of popular music the world over is the element of mystery surrounding the origins of the genre and sometimes also, the real meaning of its name. Great icons of jazz, blues, R’n’B, reggae, rumba and even the much revered Western country music are famous for performing in their respective genres rather than expounding on meanings and origins. Rarely does one find consensus among fans, let alone among musicologists when it comes to interpreting the history, art and emotive power of a particular music. Still, the imperative of building an archive of a people’s past—including their popular histories—compelled us to search and ask, to travel far and build connections, to collate documents and present avail
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During the 1980s, the West rediscovered the folk music of Africa. Afro-rock started with commercial groups based in the west, such as Osibisa.
The cross-pollination took place in both directions: western popular music adopted elements of African music, while African music adopted elements (particularly the studio techniques) of western music.
During the 1980s, the styles and genres of the various African countries, such as South Africa's "mbaqanga", Zimbabwe's "jit", Zaire's "soukous", Nigeria's "juju" and Ghana's "highlife", had a chance to develop and proliferate around the world.
Congo
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African music of the 1950s
African music of the 1970s
Afro-pop of the 1980s
During the 1950s, when they experienced rapid urbanization and a relatively booming economy, the two French-speaking colonies of the Congo area (capitals in Brazzaville and Kinshasa) witnessed the birth of an African version of the Cuban rumba played by small American-style orchestras (called "kasongo", "kirikiri" or "soukous") with a touch of jazz and of local attitudes: Joseph "Grand Kalle" Kabasselleh's African Jazz (that counted on vocalist Tabu Ley, guitarist "Docteur" Nico Kasanda, saxophonist Manu Dibango), Jean-Serge Essous'
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