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for its operations. Drawing inspiration from the elder (predominantly Baumbu) musicians of
Kintambo, Kumaye and his collaborators recruited a substantial number of unemployed local youth and trained them in traditional dance and music. In 1978, Bana Odeon's music section began performing in local taverns, captivating "modern" music aficionados with folklore-inspired dance routines and vocal exhortations. By 1980, they were honored as the Best New Group of the Year (
144:(sung-shouts). They incorporate the names of singers, guitarists, and even audience members who have offered financial support, weaving these references into their shouts. This interactive element boosts the performers' morale and also personalizes the experience for the audience. These vocal elements are meticulously timed to synchronize with the fast-paced guitar and drum rhythms, which drive both the musicians and the audience into a dancing frenzy.
343:
perceived the advent of the atalaku as a challenge to the dominance of the musical "elders." Zaïko Langa Langa's record sales and concert attendance surged, becoming a defining element of their performances. Many music groups began following Zaïko Langa Langa's example, and the atalaku rapidly became an indispensable component of every self-respecting band in
Kinshasa. Some bands maintain as many as five atalaku concurrently.
160:. Their dynamic performance style often sees them joining the choreographed dance formations on stage, sometimes leading the front dance line or performing alongside female dancers. This diverse role requires incredible stamina, as the atalaku must maintain high energy levels throughout prolonged sebene, which can extend for several hours.
221:, it was only with the advent of the atalaku that they were utilized more systematically. Before the atalaku, musicians often shouted out the names of their bandmates or announced new dances. This practice was generally more impromptu and less structured than the atalaku role that would later emerge.
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While the atalaku is often perceived as calling the dance steps and shouts, their actual control over these elements is limited. The succession of dance steps is influenced by various factors, making the atalaku's role during the sebene appear more prominent than it is. However, during extended dance
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and is frequently cited as the "cradle" of urban traditional music and the "birthplace" of the atalaku. Under the supervision of Kumaye, a
Kintambo-based businessman and local community figure, Bana Odeon was one of the first neighborhood folklore bands to manage an administrative office and staff
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The atalaku rarely appears in music videos, and despite his widely recognized "song," he is not classified as a singer. Although he performs alongside prominent figures in the music industry, he is often overshadowed by his fellow band members. Criticism for his ostentatious stage presence and the
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Resistance from some purists emerged, with criticisms suggesting that the infusion of folklore into modern
Congolese rumba diluted the genre's authenticity, and some detractors claimed Zaïko Langa Langa had overstepped and was deserving of derision in the capital. Conversely, younger enthusiasts
224:
The atalaku's origins are significantly embedded in
African ceremonial performance customs. In these traditional contexts, chants and vocalizations were used to enhance ceremonial experiences. However, the atalaku as a specific role in popular music only crystallized with the advent of the
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solos, particularly those showcasing female dancers, the atalaku has greater freedom to choose their shouts. In these moments, they use suggestive language to frame the dancers' performances, mediating between social categories and reinforcing the dancers' roles as objects of male desire.
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In the early 1970s, numerous emerging music bands, recognizing the audience's preference for performative dance sequences, began extending the sebene—the instrumental and dance-intensive segment of a song—to the conclusion of tracks.
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and performance to gain the favor of the powerful, often luring money from wealthy patrons. Despite their role in modern dance music, the atalaku remains closely tied to traditional musical styles, drawing inspiration from
45:
serves as the band's frontman, responsible for actively engaging the audience, building excitement, and augmenting the performance with spirited vocalizations and rhythmic chants. Atalaku often uses fast-paced speech,
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Bob W. White notes that since the early 1980s, shouts have evolved from being merely shouted to being both shouted and sung, to being completely sung , finally culminating in the practice of some lead singers
368:). Since the late 1990s, Kinshasa has witnessed at least two innovations in this area: a wave of junior atalakus (one of whom was eleven years old) and a series of shouts that appeared in languages other than
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notably popularized this practice, employing a thumb-and-forefinger picking technique that created the auditory illusion of dual guitar lines. This change allowed for a greater focus on dance and performance.
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of political rallies, who employed performance to elicit support for the regime, the atalaku's role evolved into a systematic methodology for enlivening the audience and creating a memorable live experience.
176:. This arcane language introduces an element of intrigue to their performance, with the audience occasionally dancing to phrases they do not entirely comprehend. However, the atalaku's metaphoric and often
339:, infusing the band's sound with folkloric chants and dance moves. The shout "Atalaku! Tala! Atalaku mama! Zekete! Zebola ka zebola, na Zebola dance!" became emblematic of this new role and style.
54:
perceived distortion of the nostalgic sentimentality of traditional
Congolese rumba is common; nonetheless, he has emerged as an integral component of every Congolese dance sequence.
183:
The atalaku's relationship with authority is complex, as they rely on sponsors for their livelihood. While they do not overtly oppose or resist authority, they use
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The atalaku's shouts are often delivered in coded language, drawing from obscure expressions in local dialects such as
Kikongo or Kiumbu, as well as urban
331:) and, in the same year, received accolades for the Best Dance of the Year for "zekete". In 1982, members of Bana Odeon, including Bébé Atalaku and
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during the 1970s and 1980s. Under Mobutu's regime, the government utilized traditional music, dance, and theater to rally support for its
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instrumental section of a song, the atalaku excels in vocal improvisation through a combination of shouts,
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sounds, and playful wordplay to captivate listeners and sustain their energy throughout the performance.
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Beyond their vocal talents, the atalaku is also an instrumentalist and dancer. They play the spray can
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is often credited with popularizing atalaku by incorporating significant social and political issues.
200:), involves adapting traditional phrases, proverbs, or rhythms for use in contemporary performances.
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to initiate the sebene with an accelerated riff. The atalaku then takes center stage, wielding a
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The emergence of the atalaku is closely linked to the political and cultural dynamics of the
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to excite the audience and prompt them to dance. Following the last lines of the chorus, the
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played a significant role in introducing and popularizing the concept of atalaku in
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599:[N'Dombolo: the identity-based postulation of the post-Zaïko generation].
505:"Modernity's Trickster: "Dipping" and "Throwing" in Congolese Popular Dance Music"
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expression for "look here, look at me" and first appeared in common parlance in
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language is generally transparent to the audience, who are "in on the joke."
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635:. Durham, North Carolina, United States: Duke University Press. p. 59.
405:. Durham, North Carolina, United States: Duke University Press. p. 58.
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597:"N'Dombolo: the identity-based postulation of the post-Zaïko generation"
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571:"Rumba Lingala as Colonial Resistance by Jesse Samba Wheeler"
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217:, although vocal shouts have traditionally been a facet of
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Rumba Rules: The
Politics of Dance Music in Mobutu's Zaire
402:
Rumba Rules: The
Politics of Dance Music in Mobutu's Zaire
16:
Vocal, instrumental and dance performer in
Congolese rumba
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Seaman, Jacobs Odongo; Omollo, Sammy (20 January 2024).
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co-pioneered the art of atalaku alongside Bébé Atalaku.
196:) and other events. This practice, known as "dipping" (
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544:"Atalaku: The rubbish that gave Soukous its bounce"
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156:, which amplifies the percussive rhythm of the
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689:Music of the Democratic Republic of the Congo
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360:, J. P. Busé) to croon shouts with "care" (
233:The emergence and formation of the atalaku
658:"The mixed legacy of DRC musician Franco"
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656:New African Magazine (15 August 2018).
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595:Tchebwa, Manda (30 November 2002).
569:Wheeler, Jesse Samba (March 2005).
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229:'s evolution in the 20th century.
168:Language, authority, and tradition
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664:. London, England, United Kingdom
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95:is also known by the French term
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509:Research in African Literatures
629:White, Bob W. (27 June 2008).
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399:White, Bob W. (27 June 2008).
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694:Guitar performance techniques
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148:Instrumental and dance skills
209:Origins and early influences
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63:Etymology and vocal prowess
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603:(in French). Paris, France
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136:), to deliver a series of
37:instrumental section of a
120:steps back, allowing the
372:and Kikongo, especially
91:in the early 1980s. The
219:Congolese popular music
503:White, Bob W. (1999).
77:University of Montreal
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329:Révélation de l'Année
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662:New African Magazine
575:Imageandnarrative.be
247:political propaganda
140:(shouts) and chants-
69:social anthropology
704:Singing techniques
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642:978-0-8223-4112-3
550:. Kampala, Uganda
412:978-0-8223-4112-3
366:atalaku ya charme
337:Zaïko Langa Langa
284:Zaïko Langa Langa
253:and its official
83:derives from the
24:Zaïko Langa Langa
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251:one-party state
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58:Characteristics
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347:Current trends
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260:Authenticité
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215:Bob W. White
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192:ceremonies (
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114:pyrotechnics
112:, and vocal
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73:Bob W. White
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48:onomatopoeic
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282:While with
132:(a type of
118:lead singer
104:During the
79:, the term
683:Categories
607:13 January
380:References
265:animateurs
158:snare drum
128:and often
126:microphone
71:professor
41:song, the
521:0034-5210
98:animateur
374:Tshiluba
324:folklore
320:Kintambo
185:flattery
110:melodies
89:Kinshasa
668:22 July
580:20 July
554:22 July
529:3820759
370:Lingala
249:of the
241:era in
204:History
194:matanga
190:funeral
130:maracas
93:atalaku
85:Kikongo
81:atalaku
75:of the
43:atalaku
33:In the
639:
527:
519:
409:
198:puiser
154:shaker
134:rattle
106:sebene
35:sebene
525:JSTOR
243:Zaire
174:slang
670:2024
637:ISBN
609:2024
582:2024
556:2024
517:ISSN
407:ISBN
178:lewd
142:cris
138:cris
257:of
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
