ANIMATION FROM KINTAMBO
animation was inspired from traditional singing in villages and then in cities whenever there are ceremonies(death,birth,birthday,wedding)
it will start having a more "serious" form in late 1970's and early 1980's in the area of kintambo in kinshasa through the group bana odeon of gabriel fingers obigo
this group was doing folk music in kikongo and obigo was often shouting in dancing parts" ah tala ku, ah tala ku mama....zekete zekete" as to say" look over here,as we dance zekete zekete"
obigo and his friends were often repeating this part in their shows in various ceremonies and from then people started refering to them as atalakus as to say "those guys who sing ah tala ku"
meanwhile,they were monitoring younger guys who were dancing with them in their shows or playing a makeshift instrument kitshaka tshaka(refering to the noise when shaking that intrument) which we will know later as shaker or maracas
among those guys,nono monzuluku,bébé,mandjeku na mbonda who all join zaiko langa langa taking with them animation of vieux obigo and creating a revolution in modern music,with few times after them,ditutala joining choc stars,djouna mumbafu joining empire bakuba and towards the end of the
the traditional animation of bana odeon is then mixed with seben of clan zaiko and the particularity of the style of bana odeon is that their animation basically required nothing special about the guy's voices it was more about the message than the quality of the voice so basically most of them was using a very natural voice(ekokota and djouna being the ones to add a bit of "personality" to that style with their energy)
that generation of bana odeon ends in late 1980's early 1990's with doudou adoula joining zaiko,roberto wunda ekokota,full king and kennedy mbala all joining wenge musica
in short,every atalaku until mid 1990's and the arrival of tutu caludji in wenge musica went through either bana odeon or also for the less known atalakus of that generation the group efanzobila also from kintambo
the style brought by bana odeon consisted mainly of shouting but also a bit of singing and sometimes included a bit of lingala over the years
the most recent examples of animation from kintambo are somono dolce,ocean zibankulu,alino biongo vimba,bidjana,gentamicine lisimo who all went through bana odeon junior and senior sections and tigre lobeso despite in his case following more the group efanzobila which was doing animation in mongo
one of the recent atalaku who never ever was in any kintambo group prior to joining groups of modern music but who used their philosophy a lot is celeo scram who has a huge part of his animation in kikongo
ANIMATION FROM NGIRI NGIRI
as mentioned in previous part,animation from ngiri mainly started from the arrival of tutu caludji in wenge musica,with shouting being abandoned in favour of a powerful style of singing matching the pace of the modern sebene and more use of lingala at expense of kikongo
other difference with the animation from kintambo is that animation from ngiri ngiri started directly with groups playing modern seben with more elecric instruments
the 4 main atalakus of that style at its beginning are alpatchino,tutu caludji,theo mbala and mboshi lipasa,all 4 went through the group of promise musica and all 4 were basically singers who were then doing animation in dancing parts
like in the animation from kintambo,there were either stories or frenetic repetition of some words in lingala
the philosophy of ngiri ngiri's animation will then be used over the years by those we call tenorist atalakus or caludjists regardless of whether they started in ngiri ngiri or not
nevertheless,that style undergoes a revolution with arrival in clan wenge of bill clinton kalonji and gentamicine lisimo,and the increased use of tshiluba and a more direct approach of animation mixing the style started by djouna mumbafu and somono and the melodious animation of the caludjists
bill clinton becoming THE atalaku to look up to gave birth to a third style of animation inspired on his own evolution which will be explained in the third type
ANIMATION FROM 'TSHANGU"
tshangu represented at some point almost half of kinshasa and has a similar population than whole congo brazza put together so i singled out that area as to say animation from other popular quarters
like i said earlier this type appeared from arrival and evolution of bill kalonji
in fact,bill after including tshiluba,went completely wild adding several other languages to the mix and sometimes seeming to create his own words
on this basis,atalakus from those popular quarters like gesac tshipoyi,apocalypse or kerozene to name a few appeared,joining big groups of modern sebene
this type of animation is in constant evolution since the essence of tshangu's animation is that freestyle spirit with no limits brought by bill clinton
from the three types of animation,this one is the one with less "logic" it can go from a funny french to lingala to kikongo to a virtual language in the same song and the objective is clearly more to stun people and to make people dance regardless of the message
this type of animation also borrows a bit of the other ones through including old lyrics or extracts of popular songs in recent songs
the advantage of that type of animation is that nowadays in almost every street of kinshasa you can find either one aspiring atalaku or street kids capable of fitting into that style comfortably since there is no limit no rule as long as you can get people dancing
