Papa Wemba Biography
Jules Shungu Wembadio Pene Kikumba was born on 14 June 1949 – 24 April 2016, known professionally as Papa Wemba, who was a Congolese singer and musician. He played Congolese rumba, soukous, and ndombolo.
Sometimes dubbed the “King of Rumba Rock”, he was one of the most popular musicians of his time in Africa and played an important role in world music. He was also a fashion icon who popularized the Sape look and style through his musical group Viva la Musica. With whom he performed on stages throughout the world.
Papa Wemba Age
Papa Wemba was born on 4th June 1949 in the Democratic Republic of Congo. He died on 24 April 2016 at the age of 66 years in Abidjan, Côte d’Ivoire.
Papa Wemba Wife
Mama-Marie Lozolo Amazoneis the wife of papa wemba as from 1970-2016, They ware married for 46years
Papa Wemba Children
Wemba and Mama-Marie Lozolo Amazoneis had six children together.
Papa Wemba Musical Career
Wemba’s road to fame and prominence began when he joined the music group Zaiko Langa Langa in the late 1960s. But Wemba gained international success and status with his band, Viva La Musica.
Especially after he took them to Paris, France in the early 1980s. It was there that Wemba was able to achieve more of an “eclectic sound” in his work, influenced by western popular music that reflected a European flavor and style, referred to as “Europop.”
Wemba spoke about this transition in his music during a 2004 interview: When I started singing pop music, I left religious music completely. But there was always the influence of religious music on my voice because, with religious music, the minor key always recurs. When I compose songs, I often use the minor key.
Zaiko Langa Langa
Papa Wemba was one of the first musicians to join the influential rock-rumba band Zaiko Langa Langa (ZLL) after it was created in December 1969 in Kinshasa, by many well-known Congolese musicians including Nyoka Longo Jossart and Bimi Ombale, among others. He remained with the group for four years.
Papa Wemba (then known as Jules Presley Shungu Wembadio) helped contribute to the success of Zaiko Langa Langa so that, by 1973, it was one of the more successful Congolese groups. By that time, ZLL’s shows and performances featured a string of their popular hits, some of them written by Wemba. The latter included “Pauline”, “C’est La Vérité”, “Chouchouna”, and “Liwa Ya Somo”.
Zaiko Langa Langa had gained a strong and popular following even in a Congolese musical world that, in those days, was already dominated by various musical acts including Franco Luambo and his band TPOK Jazz, or Tabu Ley Rochereau’s various ensembles. ZLL was also vying for an audience with others (at the time) new musical acts such as Bella-Bella and Empire Bakuba.
Isifi Lokole
In December 1974, at the pinnacle of their fame (and just a month after the Rumble in the Jungle between Muhammad Ali and George Foreman in Kinshasa), Papa Wemba (usually called ‘Shungu Wembadio’ at this point in his career) along with Evoloko Lay Lay, Mavuela Somo and Bozi Boziana, left Zaiko Langa Langa to establish their own musical ensemble Isifi Lokole.
Wemba later claimed that ISIFI was an acronym for “Institut du Savoir Ideologique pour la Formation des Idoles,” a claim that has still not been given total credence. In July 1975, Shungu Wembadio officially adopted the soon-to-be-well-known-worldwide name, Papa Wemba.
Wemba’s father in 1966, followed by his mother in 1973. Isifi Lokole would only last a year together as a group, with the single “Amazone” (a Wemba composition)as its biggest commercial “hit” record.
Yoka Lokole
In November 1975, Papa Wemba, Mavuela Somo and Bozi Boziana left Isifi Lokole to create the group Yoka Lokole(also known as The Kinshasa’s Wa Fania All-Stars). Yoka Lokole contributed to the African pop music wave with their hit songs including “Matembele Bangui”, “Lisuma ya Zazu” (Papa Wemba), “Mavuela Sala Keba”, and “Bana Kin” (Mavuela Somo).
Like Isifi Lokole, the electronic-instrument-driven Yoka Lokole would not last much longer than a year. After a year of modest success, controversies within Yoka Lokole over money and prestige were also complicated by Wemba’s arrest. Brief incarceration in Kinshasa Central prison in December 1976.
For the crime of being suspected of having had physical intimacy with an army general’s daughter. The band continued to tour without Papa Wemba. For whatever reason (or reasons), whether it was personal or professional (with one source speculating that he was perhaps feeling diminished in the public’s eye), by 1977 Wemba had formed a new group, and called it Viva la Musica.
Viva la Musica
In 1977-78, back home now in the Matonge neighborhood of Kinshasa, Papa Wemba set out to create his group Viva la Musica. This new band’s name was suggested to him in 1974 when he attended a concert in Kinshasa that featured the New York-based Latinos, Fania All-Stars.
During the concert, one of the singers would shout to the audience “Viva La Musica!” to an enthusiastic response. Wemba’s vision was to structure Viva la Musica around young, talented but largely unknown artists.
Including the singer Prince Espérant, Jadot “le Cambodgien” Sombele, Pepe Bipoli and Petit Aziza, and various guitarists such as Rigo Star, Syriana, and Bongo Wende. The new group included the traditional instrument lokole. There was also an associated dance, the mukonyonyo, as well as a fashion style.
Late Career
As time went by, it was revealed that Antoine Agbepa was the unknown writer of many of these songs, when Papa Wemba said, “Ooh! l’homme idée” (Oh! the idea-man!), thereby on-the-spot renaming the impressive young singer-songwriter Koffi Olomide – and the name stuck.
After his success already with three influential groups, in 1977 Papa Wemba established a kind of commune for musicians. To accomplish this, he used his family home (on Kanda-Kanda street) as a fashionable gathering place for Matonge youths. He named it “Village Molokai” and declared himself to be its tribal chief (chef coutumier).
Papa Wemba Move to Paris
Beginning in the late 1970s and early 1980s, Wemba (both by himself and with Viva la Musica) started traveling to Paris, believing there was a potentially wider audience for the music he had been helping to create during the preceding decade. As Wemba biographer Craig Harris put it:
“Determined to capture a European following, Wemba and Viva La Musica vocalist Rigo Star took a six-month sabbatical from the band in 1979 to join Tabu Ley Rochereau’s group, Africa International. Relocating to Paris in the early ’80s, Wemba formed a second version of Viva la Musica.0
Papa Wemba, photographed in 2009
By the late 1980s and early 1990s, Wemba’s style was more readily identifiable even as it had become an amalgamation of rhumba, soukous and ndombolo, Latin and rock, melded to a European-oriented pop style. But still wanting to expand their musical horizons, and move in new musical directions, Viva la Musica took on a dual-identity.
Wemba now maintained one group in Kinshasa (called at times “Nouvelle Ecriture”, “Nouvel Ecrita” and then again “Viva la Musica”) and another one in Paris (“Nouvelle Generation,” “La Cour des Grands” and now “Viva Tendance”).
The group consistently maintained a high profile in world music with hits like “Le Voyageur” (1992), “Emotion” (1995), “Pole Position” (1996) and “Somo Trop” (October 2003). By this time, Wemba’s use of African, Cuban and Western influences was not only one of Africa’s most popular music styles.
Culture
But it was also crossing cultural boundaries and attracting a more diverse audience outside of Africa. In 1993, Wemba joined with Peter Gabriel for the latter’s Secret World Live tour, and this drew attention to Wemba’s unique style and groundbreaking sound.
The aforementioned Emotion album, released in 1995, showed that he was achieving a global following. This album appeared under Peter Gabriel’s Real World record label and sold more than 100,000 copies.
Papa Wemba Legal troubles
In February 2003, Wemba was suspected of being involved in a network that had allegedly smuggled hundreds of illegal immigrants from the Democratic Republic of the Congo into Europe. At that point, he was arrested in Paris and held while awaiting a trial.
He then spent three-and-a-half months in prison until a €30,000 bail was posted (some reports claimed it was paid by the Congolese government). Wemba was released in June 2003, an experience that, upon his release, he declared had had a profound psychological effect on him.
The singer claimed to have undergone a spiritual conversion in jail and even recounted this episode on his album Somo Trop released in October 2003. On the song “Numéro d’écrou”, he recalled the day “God” paid a visit to his cell. In 2004, he was convicted in France, fined and given a suspended prison sentence. Wemba then returned to the Congo in 2006and continued playing music until his death.
Papa Wemba Cultural influence
In 1979, Papa Wemba became the unofficial leader of La Sape (Société des Ambianceurs et des Personnes d’Élégance, literally translated as the “Society of Atmosphere-setters and Elegant People”) which he promoted as a youth subculture in Zaire. Their style was influenced by the fashion centers of Paris and Milan. Wemba said:
The Sapeur cult promoted high standards of personal cleanliness, hygiene, and smart dress, to a whole generation of youth across Zaire. When I say well-groomed, well shaved, well perfumed, it’s a characteristic that I am insisting on among the young.
I don’t care about their education since education always comes first of all from the family. After Wemba’s death, Cameroonian saxophonist Manu Dibango told the BBC during an interview: “His whole attitude about dressing well was part of the narrative that we Africans have been denied our humanity for so long.
His Say
People have always had stereotypes about us, and he was saying dressing well is not just a matter of money, not just something for Westerners, but that we Africans also have elegance. It was all about defining ourselves and refusing to be stripped of our humanity.”
Papa Wemba’s impact on the culture is also reflected by his influence on a new generation of musicians and performers. For example, Priyan Weerappuli leader of the Sri Lankan group Pahan Silu referred to Wemba as being among his greatest musical influences.
Many others paid tribute to Papa Wemba’s legacy after his death on April 2016. Some of them included not only Koffi Olomide and Manu Dibango (both mentioned previously), but musicians King Kikii and Femi Kuti, along with soccer star Samuel Eto’o (among others) gave testimony to his lasting influence on them.
Papa Wemba Film work
Papa Wemba got some attention as a movie actor, primarily because he played the male lead role in a very successful Zairean film La Vie est Belle (Life is Beautiful) [1987] by Belgian director Benoît Lamy and Congolese producer-director Ngangura Mweze.
Wemba made another kind of contribution to cinema, thanks to his work on the soundtracks for Children of Men, Besieged, and Black Mic Mac. Wemba is also credited as “composer” of the scores for the films Identity Pieces, Macadam tribu, along with Life is Beautiful…
During his life, Wemba acted in a few more successful films, although he played only minor roles. As recently as 2012, he had a cameo role in the Belgian drama film Kinshasa Kids. Beyond the impact of his important role in Life is Beautiful, there are many music videos and recorded band performances.
Also, Wemba is featured (as himself) in many documentary films which were generally well-received including; The Importance of Being Elegant, The Real World of Peter Gabriel and The African Rock ‘n’ Roll Years (all television) documentaries).
Papa Wemba Death
Wemba died at the age of 66 after collapsing on stage in Abidjan, Côte d’Ivoire, during the FEMUA urban music festival on Sunday, 24 April 2016. On Monday, April 25, it was reported that his widow, Mama-Marie Luzolo Amazone, flew to Abidjan accompanied by family members and government officials.
In Wemba’s hometown of Kinshasa, both fellow musicians and fans gathered together as a tribute to his legacy. Similar tributes also took place in Paris, London, Brussels, and Nairobi.
Papa Wemba funeral
Papa Wemba’s funeral service was not open to the public. However, the ceremony, which was held at the Notre Dame Cathedral in Kinshasa, Democratic Republic of Congo, attracted thousands of people from the host country as well as the rest of the world.
A Papa Wemba funeral dance was an unimaginable thought to most of the mourners a few weeks earlier as the celebrated musician entertained them before succumbing to a heart attack while on stage.
Papa Wemba was an endowed and respected man as seen in the Papa Wemba funeral photos below capturing dignitaries paying their respects. The entire continent was in shock when the headlines read ‘Papa Wemba dies on stage’ on the 24th of April 2016.
Papa Wemba burial
His wife, close family members, and friends, as well as politicians, musicians, and the general public, were in attendance during Papa Wemba’s burial. An artistic vigil was held for Papa Wemba before his body was shipped to the Democratic Republic of Congo. His body was accompanied by fellow musicians and the Ivorian Culture Minister when it arrived in Kinshasa.
Papa Wemba discography
Papa Wemba was part of more than 35 album recordings. The following list is just a sampling from a 15-year time-span (1986-2001) during which Wemba was solidifying an international reputation in world music.
- L’esclave, Papa Wemba – Au Japon (live) (1986)
- Le Voyageur (1992)
- Place Vendôme (1994)
- Emotion, Real World Records (1995)
- Evenement (1996)
- M’fono Yami (1997)
- Molokaï (1998)
- Nouvelle Ecriture dans L (1998)
- M’Zée Fula-Ngenge (1999)
- Bakala Dia Kuba (2001)
Papa Wemba top songs
- Yolele
- Mandola
- Show Me The Way
- Fa Fa Fa Fa Fa (Sad Song)
- Rail On
- Shofele
- Image
- Sala Keba
- Awa Y’okeyi
- Epelo
- Ah Ouais
- Papa Wemba Photo
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What made Papa Wemba so influential?
Papa Wemba died after collapsing on stage at a music festival in Ivory Coast
Tributes have been pouring in for Congolese musician Papa Wemba who died on Sunday morning after collapsing on stage. African music expert Rita Ray looks at what made him so influential.
According to the sleeve notes from his 1995 album Emotion. “When people talk about Papa Wemba, I don’t want them to say I am an African singer or a world music singer,” he said. “I would like people to say just ‘singer’. Because that’s what I am. A singer. Full stop.”
Cuban, Latin American and traditional African sounds all mixed to make Kinshasa the musical capital of the continent. Papa Wemba entered the competitive world of Congolese music on December 1969, 10 years after his country’s independence.
It had been a traumatic era of civil war, assassinations, and political instability. Yet the music created there, a potent blend of Cuban. Latin American and traditional African sounds made Kinshasa the music capital of the continent.
Rumba
Rumba was all the rage. It crossed boundaries and swept across Africa with the likes of Franco and TPOK Jazz, Tabu Ley Rochereau and Dr. Nico driving its popularity, their big dance orchestras harking back to the euphoric days of independence.
Influenced by Western pop and rock combos of the 1960s and no doubt a lack of money to buy instruments. Zaiko Langa Langa went against form, they stripped out the horn sections prevalent in the rumba. Orchestras of the time and pushed the electric guitar and snare drum to the fore.
The band was hip rebellious and became legends of the genre. They featured several singers singing in harmony and tinkered with the sebene – the fast improvised instrumental section of soukous music.
Media captionWatch a clip from Papa Wemba’s 2015 music video D’adoration BBC Papa Wemba playlist. The name Zaiko is a contraction of Zaire ya bokoko the Zaire of our ancestors. The langa langa refers to an ethnic group from the equatorial region.
Changing of The Name Zaire
How prescient, President Mobutu Sese Seko was to change the country’s name to the Republic of Zaire in 1971. The officially sanctioned authenticity movement which followed also directed the band to look more into African heritage for musical inspiration.
Massively popular at home in DRC, only one of his albums broke through internationally. But it was when he put together his band Viva La Musica in 1977. Papa Wemba really came into his own. Always innovative he introduced the lokole into the mix. A traditional instrument made out of a hollowed-out tree trunk and hit with sticks.
His mother, a professional funeral dirge singer. He was amazingly popular at home. His house became a hang-out for the cool youth who followed his music and style.
Starter of the sapeurs
He became the leader of the Sape. Short for Societe des Ambianceurs et des Personnes d’Elegance or Society of Ambiance-ists and People of Elegance.
“The Sapeur cult promoted high standards of personal cleanliness, hygiene, and smart dress. To a whole generation of youth across Zaire,” Papa Wemba said.
“When I say well-groomed, well-shaved, well-perfumed, it’s a characteristic that I am insisting on among the young. I don’t care about their education since education always comes first of all from the family.”
Papa Wemba’s Ambitions
Papa Wemba was hugely ambitious but conflicted. He wanted to break into the World Music genre and sought the stature enjoyed. By the likes of Yousou N’dour and Salif Keita.
But at the same time, he wanted to preserve the sound he had worked hard to develop. So he maintained a band in the Democratic Republic of Congo. To play his trademark brand of soukous keeping his African fans happy.
As the father of Congolese rumba, soukous, Papa Wemba had many protoges including musician Koffi Olomide. He did find global recognition and his 1995 Emotion album. Released by Peter Gabriel’s Real World records, sold more than 100,000 copies. But it was just one of his more than 35 recordings.
On Sunday morning, Papa Wemba, the King of Rumba Rock, died on stage doing what he loved best. And the last thing he heard as he lay dying was his own music being played.