Papé Nziengui — Kadi Yombo | Musique Gabonaise

#bwiti #ngombi #gabon

Pape Nziengui et son groupe

Kadi Yombo, published in 1989, is the most successful album in the quest for a fusion between tradition and modernity in Bwiti harp music of the Tsogho people of Gabon. Combining beating rattles with a layer of synthesizers, Papé Nziengui blends in a contrapuntal dialogue characteristic of harp playing: male song in appeal and female choir in response, male voice of the musical arc and rhythms of female worship. But above all it’s Tsogho ritual music and modern studio orchestration. The result is an initiatory itinerary of 10 musical pieces which are all milestones likely to be simultaneously listened to, danced, meditated on, and soon acclaimed. In the years since, Nziengui has traveled he world from Lagos to Paris, from Tokyo to Cordoba, from Brussels to Mexico City to become a true icon, the emblem of Gabonese music.

Like Bob Dylan, "electrifying" folk and Bob Marley mixing rock with reggae, some purists have criticized Nziengui for having distorted the music of harp by imposing a cross with modern instruments. They even went so far as to claim that Nziengui was just an average harpist covering his shortcomings with stunts that were only good for impressing neophytes; like playing a harp placed upside down behind his back or playing two or three harps simultaneously. Sincere convictions or venomous defamations, in any case, Nziengui never gave in to such attacks, imposing himself on the contrary to pay homage to the elders (Yves Mouenga, Jean Honoré Miabé, Vickoss Ekondo) while instructing the maximum of young people. He is thus the promoter of many young talents, the most prominent of which is certainly his nephew Jean Pierre Mingongué.

In a conservative society where the sacred is confused with secrecy, exposing the mysteries of Bwiti in broad daylight can be punished by exclusion or even execution.

Papé Nziengui has always claimed that he faces such risks because he never felt enslaved to a community that governs his life, that regulates his conduct, that has a right of censorship over his activities. Like Ravi Shankar, the famous sitarist, Papé Nziengui is a man of rupture but also of openness, a transmitter of culture. As proof, he has established himself in Libreville, Gabo’s capital, as the main harpist for sessions and concerts, accompanying the greatest national artists (Akendengué, Rompavè, Annie-Flore Batchiellilys, Les Champs sur la Lowé, etc.) as well as foreign artists (Papa Wemba, Manu Dibango, Kassav', Toups Bebey, etc.). In 1988, he was the first harpist to release an album in the form of a cassette produced by the French Cultural Center (Papé Nziengui, Chants et Musiques Tsogho). At the same time, he created his own group (Bovenga), combining traditional music instruments (musical bow, drums, various percussion instruments, etc.) in the framework of a true national orchestra, which gave the first concert and the first tours of a traditional music that was both modern and dynamic, thus "democratizing" the harp, to the dismay of certain purists.

On the other hand, in modern music, dominated by the logic of profit or even commercialism, artistic creation must often be adjusted for a specific audience based on reason rather than heart. But instead of allowing himself to be distorted, Papé Nziengui has always tried to produce music that is not a caricature, worthy in its expression as in its content, of the sacredness and transcendence of the music of the Origins. This is what makes Nziengui—not only the musician, but the man—someone whose age hasn’t altered any of his freshness or authenticity.

[AwesomeTapesFromAfrica]

« La meilleure danseuse est élue à la fin de la cérémonie » / « The best dancer selected
at the end of the ceremony” /
C’est la “star”, celle qui surpasse les autres danseuses par ses pas de danse, sa puissance spirituelle, et dont
on se souvient après la cérémonie.
She is the “star”, the one who surpasses the other dancers by her dance steps, her spiritual power, and who
is remembered after the ceremony.

[OrelOkouere-lhkj]

je suis du Congo mais cette mélodie me touche le coeur, il me fait revivre mon état traditionnel du coup j'ai l'esprit convaincu et la culture gabonaise est vraiment extraordinaire, il y a la douceur, il y a des pas de chacun, il y a le voyage spirituel, au delà de tous, la chanson devient comme une arme puissante et très protectrice, je peux dire n'oublions pas d'où nous venons la tradition n'est pas de la sorcélérie, mais plutôt un point de protection, nos ancêtres étaient les dieux!! mais bon aujourd'hui ils perdent de la valeur auprès de chacun d'entre nous, tous ça là parce que les blancs on t'emmené leur dieu!! on nous mentons que nos traditions c'est du diable, nous ne marchons pas sur nos pas aujourd'hui, bien que il y'a la modernisation mais n'écartions pas nos ancêtre car eux aussi font beaucoup pour nous dans le monde spirituel, vivant pour nos cultures merci papa c'était Jorel Okouere.

[kabrownboockaofficiel]

La culture est quelque chose de puissant lorsqu'elle est exploité à bonne escient.
Cette chanson est puissante et me rend très fière de mon pays le Gabon et mon ethnie mitchogo.

[colthCarter]

Ce Monsieur a vraiment bercé mon enfance 😢. Vive le Gabon et les jours heureux rêvés pas nos ancêtres . Longue Vie à toi papa.

[bonucci]

vive la tradition
n'oublions pas d'où nous venons.

[paulbadouma]

Mon frère je l'écoute en 2024, c'est le Gabon dans son jus.

[kifyun]

Cette chanson à un équilibre musical impressionnant.

[jeannybiloghe]

Mon enfance, jusqu'aujourd'hui cette mélodie m'apaise et me transporte ❤❤

[light]

les jeunes d'aujord'hui n'aime pas la culture mais la culture est tres important ce que les gens ignore et se pose des questions pour quoi aujord'hui on a autant des déraciner perdu dans l'espace du gabon

[JeanickNyare]

J’ai l’impression que toute mon enfance est dans ce chant

[TheDreamingJune]

Loving this so much! The rhythms are delightful.

[henridugardin]

Bassé bassé au joueur de tam-tam derrière