https://www.tiktok.com/@iamjordaaan/video/7174098069972094214?is_copy_url=1&is_from_webapp=v1

The "Muana mobali asuanaka te" dance of Wenge BCBG would have fit better to this image of R. Kelly






45:48 min

What does asuanaka te mean? I don't understand the animation

It means 'the boy doesn't fight' or something like that.

What does asuanaka te mean? I don't understand the animation

It means a man doesn't argue. They are referring to a conversation when a man and woman have s*x. Don't you hear how Tutu Kaluji ends the sentence with "ouh, ouh,.." and the way they are dancing. The censor commission had to suspend that dance normally, but it looks like they were blind. The funny thing is that were quick to suspend Papa Wemba's Nkila Mogrosso back in 2002 when it got presented on tv. They could find another cri or replace it by a traditional kikongo or tshiluba song. Like the way Bill first used to animate "likambo ya ngeli-ngeli" when Wenge Maison Mère used to dance Kiwanzenza, but he quickly replaced it with tshiluba animation a few monts later. However, the cri ended up in the remix version of Intervention Rapide that they recorded for Terrain eza Miné in 2000.

Other examples are the way Celeo came with the traditional Bakongo song Koyimbi-ko when those dancers from Brazzaville presented the dance to Wenge Maison Mère or Victoria Eleison with the tshiluba cri Tchafulu when Eder Womo came with the dance from Brazzaville which was first called Bord na Bord, the pre-version of Koyimbo-ko dance, danced by Z1 International and Patrouilles des Stars but the cri not appearing on disc. I think because of being to obsence. Wenge Tonya Tonya just changed it into "Bo na Bo". Looking back to it made me wonder if the "Muana Mobali Asuanaka Te" dance wasn't a modification of the "Bord na Bord" dance.

What does asuanaka te mean? I don't understand the animation

It means a man doesn't argue. They are referring to a conversation when a man and woman have s*x. Don't you hear how Tutu Kaluji ends the sentence with "ouh, ouh,.." and the way they are dancing. The censor commission had to suspend that dance normally, but it looks like they were blind. The funny thing is that were quick to suspend Papa Wemba's Nkila Mogrosso back in 2002 when it got presented on tv. They could find another cri or replace it by a traditional kikongo or tshiluba song. Like the way Bill first used to animate "likambo ya ngeli-ngeli" when Wenge Maison Mère used to dance Kiwanzenza, but he quickly replaced it with tshiluba animation a few monts later. However, the cri ended up in the remix version of Intervention Rapide that they recorded for Terrain eza Miné in 2000.

Other examples are the way Celeo came with the traditional Bakongo song Koyimbi-ko when those dancers from Brazzaville presented the dance to Wenge Maison Mère or Victoria Eleison with the tshiluba cri Tchafulu when Eder Womo came with the dance from Brazzaville which was first called Bord na Bord, the pre-version of Koyimbo-ko dance, danced by Z1 International and Patrouilles des Stars but the cri not appearing on disc. I think because of being to obsence. Wenge Tonya Tonya just changed it into "Bo na Bo". Looking back to it made me wonder if the "Muana Mobali Asuanaka Te" dance wasn't a modification of the "Bord na Bord" dance.

Now that I think about it, Koyimbi Ko if you take the music and the lyrics away the version made by Celeo it is straightly a sexual dance, except for the hand gestures and the second and the further movimento whom don't end in a "hit" but rather in a smooth way that dance is strictly sexual, the Franco version of Koyimbi Ko where Celeo took inspirati9n from really doesn't match the pre crie (Yaya Phenomene Wambote Mbote dance sur o lokena) and not even the crie Ko Yimbi Ko which is a bird if I am not mistaken or a bird movimento and then " Zwa, Ma, Seka Mukie... Balula Ye" which literally means Take, Take, Laugh a Little insert name Turn him or her around".

I said that they had to cover those dance with traditional songs/cri's, because its normally not in our culture to sing about sex. You will notice that the majority of the dances bands were doing in the 90s and 2000s didnt anything to do with the cri's atalaku's were animating. Btw, back the days regular bands were not dancing with their waist, it were only traditional bands doing that. It's Zaiko who came with that style of dancing in the early 80s. From the 60s until the mid 80s the censor commission censored multiple tracks even before they came to the market because of the songs being obscene (back then they were powerful and used to listen to all songs and tracks before they would aired on the radio and sold on the market) and most discs being made in Zaire. Boketshu was lucky since that he was doing traditional mongo music. Things started to change slowly in the 90s, but cri's of atalaku's animating about sex were really hidden. You had to think hard to understand the real message. Most atalaku's prefered to do cri's of traditional tracks. Then from 2001 to 2003/04 you had that transition and in 2005 the censorship trying to censor multiple generiques because of being obscene but it didnt work.


I dont think that Celeo took inspiration from Franco and that many know Franco's song Yimbi. The majority of people dont  know the songs of Franco recorded in the 50s and 60s except those born the 30s, 40s and 50s. People started to put attention of Franco's version from the moment I put it on youtube with the title "la veritable origine de l'animation koyimbi-ko" just to take people attention and from there someone sharing it on instagram, facebook and tiktok just to betittle Celeo for not having created it and the song being viral on social media. But they don know that all atalaku's of that time animating in Kikongo and Tshiluba where taking it somewhere and not creating it themselves, including legend/first atalaku Nono Monzuluku of Zaiko.

I think that Celeo just took it from a pire petit that took it from a traditional band or the radio, because back in the day you used to have a man (I forgot his name) who used to sing Koyimbi-ko on the radio often when starting his show about traditional fairytales. It could maybe being one of the many animations Gaby Yau Yau used to put on cassette and give it to Werrason to let both Bill and Celeo take animations from it from 1998 until 2004. For example the intro of Solola Bien that Bill did in Kikongo, the intro of Tindika Lokito, Kimbongila in Alerte Generale, the intro of Bill's Kiyoki na Kiyoki were his creations.

I said that they had to cover those dance with traditional songs/cri's, because its normally not in our culture to sing about sex. You will notice that the majority of the dances bands were doing in the 90s and 2000s didnt anything to do with the cri's atalaku's were animating. Btw, back the days regular bands were not dancing with their waist, it were only traditional bands doing that. It's Zaiko who came with that style of dancing in the early 80s. From the 60s until the mid 80s the censor commission censored multiple tracks even before they came to the market because of the songs being obscene (back then they were powerful and used to listen to all songs and tracks before they would aired on the radio and sold on the market) and most discs being made in Zaire. Boketshu was lucky since that he was doing traditional mongo music. Things started to change slowly in the 90s, but cri's of atalaku's animating about sex were really hidden. You had to think hard to understand the real message. Most atalaku's prefered to do cri's of traditional tracks. Then from 2001 to 2003/04 you had that transition and in 2005 the censorship trying to censor multiple generiques because of being obscene but it didnt work.


I dont think that Celeo took inspiration from Franco and that many know Franco's song Yimbi. The majority of people dont  know the songs of Franco recorded in the 50s and 60s except those born the 30s, 40s and 50s. People started to put attention of Franco's version from the moment I put it on youtube with the title "la veritable origine de l'animation koyimbi-ko" just to take people attention and from there someone sharing it on instagram, facebook and tiktok just to betittle Celeo for not having created it and the song being viral on social media. But they don know that all atalaku's of that time animating in Kikongo and Tshiluba where taking it somewhere and not creating it themselves, including legend/first atalaku Nono Monzuluku of Zaiko.

I think that Celeo just took it from a pire petit that took it from a traditional band or the radio, because back in the day you used to have a man (I forgot his name) who used to sing Koyimbi-ko on the radio often when starting his show about traditional fairytales. It could maybe being one of the many animations Gaby Yau Yau used to put on cassette and give it to Werrason to let both Bill and Celeo take animations from it from 1998 until 2004. For example the intro of Solola Bien that Bill did in Kikongo, the intro of Tindika Lokito, Kimbongila in Alerte Generale, the intro of Bill's Kiyoki na Kiyoki were his creations.

Is animation difficult to create compared to songwriting, in your opinion?

Its not difficult. The goal is just to make people dance. However, the competition is high because of many bands having atalaku's and each band wanting to have the best animation. Which normally forces atalaku's bands to step their game up. Most prefering to work with atalaku's a home that bring cri's and them picking the best one to bring them to the band. Because if you have fame, you dont have really proper time to concentrate, being to much in nightlife, women following you, everybody following you and asking for money, doing matolo, fiding a way to get expensive clothes, having multiple sugarmoms and sidechicks to please, having a family to feed because they think that you are rich, etc.

I said that they had to cover those dance with traditional songs/cri's, because its normally not in our culture to sing about sex. You will notice that the majority of the dances bands were doing in the 90s and 2000s didnt anything to do with the cri's atalaku's were animating. Btw, back the days regular bands were not dancing with their waist, it were only traditional bands doing that. It's Zaiko who came with that style of dancing in the early 80s. From the 60s until the mid 80s the censor commission censored multiple tracks even before they came to the market because of the songs being obscene (back then they were powerful and used to listen to all songs and tracks before they would aired on the radio and sold on the market) and most discs being made in Zaire. Boketshu was lucky since that he was doing traditional mongo music. Things started to change slowly in the 90s, but cri's of atalaku's animating about sex were really hidden. You had to think hard to understand the real message. Most atalaku's prefered to do cri's of traditional tracks. Then from 2001 to 2003/04 you had that transition and in 2005 the censorship trying to censor multiple generiques because of being obscene but it didnt work.


I dont think that Celeo took inspiration from Franco and that many know Franco's song Yimbi. The majority of people dont  know the songs of Franco recorded in the 50s and 60s except those born the 30s, 40s and 50s. People started to put attention of Franco's version from the moment I put it on youtube with the title "la veritable origine de l'animation koyimbi-ko" just to take people attention and from there someone sharing it on instagram, facebook and tiktok just to betittle Celeo for not having created it and the song being viral on social media. But they don know that all atalaku's of that time animating in Kikongo and Tshiluba where taking it somewhere and not creating it themselves, including legend/first atalaku Nono Monzuluku of Zaiko.

I think that Celeo just took it from a pire petit that took it from a traditional band or the radio, because back in the day you used to have a man (I forgot his name) who used to sing Koyimbi-ko on the radio often when starting his show about traditional fairytales. It could maybe being one of the many animations Gaby Yau Yau used to put on cassette and give it to Werrason to let both Bill and Celeo take animations from it from 1998 until 2004. For example the intro of Solola Bien that Bill did in Kikongo, the intro of Tindika Lokito, Kimbongila in Alerte Generale, the intro of Bill's Kiyoki na Kiyoki were his creations.

This is really interesting what kind of dances the band used to do before traditional dances took over? It is super interesting because most of Congolese identity before Rhumba became popular was founded on that his movimento.

Back the days singers and people not really dancing. They were just doing rumba since that the genre was based on Cuban rumba's. The singers just going from left to right when the sebene-part would come and the public looking for a woman (when its a man) or a man (when its a woman) to dance with each other. Then around 1968 there was band formed called Thu Zahina (the first of the 3th generation). They changed alot of things in Congolese music althought everything being credited to Zaiko, Franco and Tabu Ley. They introduced female dancers (this is credited to Tabu Ley who was started with that when preparing his show for Olympia and everybody forgot about Thu Zahina when it was disbanded in 1972), they came with tracks of 10/12 minutes long while Congolese songs were just 3/4 minutes long (this got credited to Franco), they came with animations/cris who were then done singers and choreographies. Which all bands slowly followed. The band was a reference for all youngsters and had a big succes which made artists of the older generation mad. The band got killed in 1972 by Verckys and Franco who incorported the keymembers in their band.

Going back to choreographies. The master of it was Tabu Ley, he was mostly inspiring himself with western dances those of JAmes Brown and co. The same for Dr Nico and co. Then slowly bands were creating dances by themselves, some being taken from the street and other being traditional dances but reworked. Some dances in the 70s were reused/reworked in the 90s for example helicopter of wenge maison mere which was done by Zaiko back in 1975 as choqué. Most interesting dances make from Isifi Lokolé, Yoka Lokole and Zaiko but those videos are not on youtube and very rare. So how national television lost all those archives and that nobody else preserved them. Guys like Evoloko, Gina Efonge and Mavuela doing stunts and showing their skills as dancers. There's only a video of Zaiko back in 1975 performing for Tele Zaire where late Mbuta Mashakado was copying James Brown and Nyoka Longo being with him the best dancer

Who were the key members of Thu Zahina?

Have to ask it to my big brother. But I knew that it had members like guitarist Thierry Mantuika (RIP) that joined TPOK Jazz, Roxy Tshimpaka and Gege Mangaya (RIP)

They sound incredibly similar to Tabu Ley