Radio Stations and
Folklore with Rumba
Folklore includes dance or balls, music, legends, stories, fables, crafts and superstitions of local culture, among other factors.
These are traditions shared by a population or people, which are traditionally transmitted, over time, from generation to generation.
Connoisseurs distinguish four stages of folklore, namely: nascent folklore, which includes newly created cultural traits; living folklore, which is still practiced daily;
Moribund folklore, which preserves some traditional elements, especially among the older ones of the group; and dead folklore, which, on the other hand, belongs to an exterminated culture.
Folklore varies according to the people. Everyone has their own folklore, so to speak.
With globalization, the culture tends to become homogenized and the dominant countries impose their creations.
That said, folklore is a frame of resistance for identity.
There are associations or clubs, cultural centers and organizations that take up the task of defending folklore and passing it on to the youngest in order to perpetuate it.
Thus, folklore ensures its subsistence between the generations and does not depend only on the group of the oldest people.
THE EVOLUTION OF THE CONGOLESE RUMBA.
After Paulo Kamba, Jimmy Zakari and Wendo, Rumba was modernized with African Jazz by Joseph Kabassélé in the late 1950s, which introduced the electric guitar and the trumpet in this new style.
Then, Lord Rochereau in the Congo DRC and Rodolphe Békpa in the Central African Republic introduce the drums in the African Rumba to give it tone.
Then, Lord Rochereau and Franco Luambo Makiadi bring to the Congolese Rumba its letters of nobility through their texts which reflect the daily realities of Africa.
Over time, Rumba has incorporated other musical trends such as Jazz, Makossa, Pop and Soul.
Nowadays, Rumba is running out of steam due to the lack of innovation of our artists.
Also, texts that are often too long in Lingala are becoming less and less accessible. Animations, credits in
French and “Atalakou” or “Mabanga” (the fact of quoting several names in Rumba) becomes a fashionable style and distorts this heritage which tends to internationalize.
Ivorians invent a shortened version of Soukouss, a variant of Rumba called Coupé Décalé. The popular French
Ivorian, filled with humor makes this new musical genre accessible at the speed of a TGV and relegates the aging Rumba to the background.
In the Central African Republic the Rumba of Bangui is sung in Sango, the national and official language of the country and takes into account the cultural diversities of its regions.
His sung lyrics express love, joie de vivre, everyday life and themes of national awareness.
For the past ten years, Rumba in Bangui has been influenced by the traditional – modern style called “Montè-Nguènè” which is popularized by the Zokéla group.