Jules Shungu Wembadio Pene Kikumba commonly known as Papa Wemba (June 14, 1… Read Full Bio ↴Jules Shungu Wembadio Pene Kikumba commonly known as Papa Wemba (June 14, 1949 – April 24, 2016) was a Congolese rumba, later known as soukous, singer and musician. He was one of Africa's most popular musicians.
Papa Wemba was one of the very first musicians to join the influential Soukous band, Zaiko Langa Langa when it was created on December 24, 1969 in Kinshasa (Capital of the Democratic Republic of the Congo) along with such well known Congolese musicians as Nyoka Longo Jossart, Manuaku Pepe Felly, Evoloko Lay Lay, Teddy Sukamu, Zamuangana Enock, Mavuela Simeon, and others.
In a Congolese musical world dominated at the time by Franco Luambo and his remarkable band TPOK Jazz, Tabu Ley Rochereau's Afrisa, and by then-new musical groups like Les Grands Maquisards, Le Trio Madjesi, and even younger bands like Bella-Bella, Thu Zaina and Empire Bakuba, the young and talented Papa Wemba (then known as Jules Presley Shungu Wembadio), was one of the driving forces that by 1973 made Zaiko Langa Langa one of the most-performing dominant Congolese groups, featuring such popular numbers as "Chouchouna" (Papa Wemba), "Eluzam" and " Mbeya Mbeya" (Evoloko Lay Lay), "BP ya Munu" (Efonge Gina) and "Zania" (Mavuela Somo).
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), Shungu Wembadio (Papa Wemba), along with Evoloko Lay Lay, Mavuela Somo and Bozi Boziana (who'd joined Zaiko Langa Langa a year earlier), left Zaiko Langa Langa to establish their own musical ensemble Isifi Lokole, ISIFI being an acronym for "Institut de Savoir Ideologique pour la Formation des Idoles." In July 1975, Shungu Wembadio officially adopted the soon-to-be-well-known worldwide artist name Papa Wemba, the addition of "Papa" (father) an allusion to what were in fact rather awesome family responsiblities as the first son in a family where both father and mother (Wemba's parents) had been deceased since the 1960s.
The "feux d'artifice" (fireworks) that was Isifi Lokole would only last a year, with the single "Amazone" (Papa Wemba) as its biggest commercial "hit" record. In November 1975, Papa Wemba, Mavuela Somo and Bozi Boziana abandoned Evoloko Lay Lay and Isifi Lokole to create the group Yoka Lokole (also known as The Kinshasha All-Stars, or Lokole Isifi, or simply Isifi), along with Mbuta Mashakado, another Zaiko Langa Langa 'transfusion.' Yoka Lokole enjoyed slightly less popular success than the original Isifi Lokole, but for a time still managed to remain at the top the African pop music wave with hit songs like "Matembele Bangui", "Lisuma ya Zazu" (Papa Wemba), "Mavuela Sala Keba", and "Bana Kin" (Mavuela Somo).
Like Isifi Lokole, the electronic-instrument driven Yoka Lokole (or The Kinshasha All-Stars) would not last much longer than a year, given the merger of so many big-name talents in the band's lineup. After a year of modest success, controversies within Yoka Lokole over money and prestige (complicated by Wemba's arrest and brief incarceration in Kinshasa Central prison in December 1976 for the 'crime' of being suspected of having had physical intimacy with an influential army general's daughter) would lead Papa Wemba, then feeling diminished by peers and neglected by the public, to form his own group Viva la Musica in February 1977.
At his home in the Matonge neighborhood of Kinshasa, Papa Wemba structured Viva la Musica around young talented artists like singers Kisangani Esperant, Jadot le Cambodgien, Pepe Bipoli and Petit Aziza, guitarists Rigo Star, Syriana, and Bongo Wende. The group had nearly instantaneous success, with hit songs like "Mere Superieure," "Mabele Mokonzi," "Bokulaka," "Princesse ya Sinza," and others.
During the height of his success in 1977, Papa Wemba's family home, which had become a popular, some even said hallowed/special place for Matonge youths to gather "à la mode" (i.e., to be cool) was named the "Village Molokai," and Wemba assumed the exalted moniker "Chef Coutumier" (Chief) of the Village of Molokai. In those days people referred to Papa Wemba as the "chief from the heartland (village)" to differentiate him from Kinshasa-born musical bigshots Mavuela Somo and Mashakado. However years later Mavuela would say that their difficulties only simply amounted to trivial foolishness over money, ambition and fame between some very-young people (that at the time they all were).
Since 1977, Viva la Musica has seen both the 'defections' of musicians every two or three years and the entrée and emergence of other new talents. King Kester Emeneya (1977-1982), Koffi Olomide (1978-1979), Djuna Djanana (1978-1981), Dindo Yogo (1979-1981), Maray-Maray (1980-1984), Lidjo Kwempa (1982-2001), Reddy Amissi (1982-2001), Stino Mubi (1983-2001) are among the currently well-known Congolese musicians who have served at one time or another with Viva la Musica. An old Kinshasa anecdote says that a college student then-named Antoine Agbepa Koffi was such an impressive songwriter that one day in 1977 Papa Wemba exhorted, "Ooh! l'homme idee" (Oh! the idea-man!) thereby on-the-spot renaming the impressive young singer-songwriter Koffi 'Olomide'--and the name stuck!
After the wave of African emigration to Europe in the 1990s, Wemba maintained one group in Kinshasa (called at times "Nouvelle Ecriture," "Nouvel Ecrita," and now again "Viva la Musica") and another one in Paris ("Nouvelle Generation," "La Cour des Grands," and now "Viva Tendance"). He has also consistently maintained a very high profile in World Music with such great hits as "L'Esclave" (1986), "Le Voyageur, Maria Valencia" (1992), "Foridoles, Dixieme Commandement" (1994), "Emotion" (1995), "Pole Position" (1996), "Fula Ngenge" (1999), "Bakala dia Kuba" (2001), and "Somo Trop" (2003). Many would assign Wemba the status of African-music "living legend," as few others in history could claim (Franco Luambo, Tabu Ley Rochereau, and Miriam Makeba certainly among them).
Papa Wemba is also known as an actor. In 1987, he played the male lead role in the successful Zairean (Congolese) film La Vie est Belle by Belgian director Benoit Lami and Congolese producer-director Ngangura Mweze.
Papa Wemba was one of the very first musicians to join the influential Soukous band, Zaiko Langa Langa when it was created on December 24, 1969 in Kinshasa (Capital of the Democratic Republic of the Congo) along with such well known Congolese musicians as Nyoka Longo Jossart, Manuaku Pepe Felly, Evoloko Lay Lay, Teddy Sukamu, Zamuangana Enock, Mavuela Simeon, and others.
In a Congolese musical world dominated at the time by Franco Luambo and his remarkable band TPOK Jazz, Tabu Ley Rochereau's Afrisa, and by then-new musical groups like Les Grands Maquisards, Le Trio Madjesi, and even younger bands like Bella-Bella, Thu Zaina and Empire Bakuba, the young and talented Papa Wemba (then known as Jules Presley Shungu Wembadio), was one of the driving forces that by 1973 made Zaiko Langa Langa one of the most-performing dominant Congolese groups, featuring such popular numbers as "Chouchouna" (Papa Wemba), "Eluzam" and " Mbeya Mbeya" (Evoloko Lay Lay), "BP ya Munu" (Efonge Gina) and "Zania" (Mavuela Somo).
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), Shungu Wembadio (Papa Wemba), along with Evoloko Lay Lay, Mavuela Somo and Bozi Boziana (who'd joined Zaiko Langa Langa a year earlier), left Zaiko Langa Langa to establish their own musical ensemble Isifi Lokole, ISIFI being an acronym for "Institut de Savoir Ideologique pour la Formation des Idoles." In July 1975, Shungu Wembadio officially adopted the soon-to-be-well-known worldwide artist name Papa Wemba, the addition of "Papa" (father) an allusion to what were in fact rather awesome family responsiblities as the first son in a family where both father and mother (Wemba's parents) had been deceased since the 1960s.
The "feux d'artifice" (fireworks) that was Isifi Lokole would only last a year, with the single "Amazone" (Papa Wemba) as its biggest commercial "hit" record. In November 1975, Papa Wemba, Mavuela Somo and Bozi Boziana abandoned Evoloko Lay Lay and Isifi Lokole to create the group Yoka Lokole (also known as The Kinshasha All-Stars, or Lokole Isifi, or simply Isifi), along with Mbuta Mashakado, another Zaiko Langa Langa 'transfusion.' Yoka Lokole enjoyed slightly less popular success than the original Isifi Lokole, but for a time still managed to remain at the top the African pop music wave with hit songs like "Matembele Bangui", "Lisuma ya Zazu" (Papa Wemba), "Mavuela Sala Keba", and "Bana Kin" (Mavuela Somo).
Like Isifi Lokole, the electronic-instrument driven Yoka Lokole (or The Kinshasha All-Stars) would not last much longer than a year, given the merger of so many big-name talents in the band's lineup. After a year of modest success, controversies within Yoka Lokole over money and prestige (complicated by Wemba's arrest and brief incarceration in Kinshasa Central prison in December 1976 for the 'crime' of being suspected of having had physical intimacy with an influential army general's daughter) would lead Papa Wemba, then feeling diminished by peers and neglected by the public, to form his own group Viva la Musica in February 1977.
At his home in the Matonge neighborhood of Kinshasa, Papa Wemba structured Viva la Musica around young talented artists like singers Kisangani Esperant, Jadot le Cambodgien, Pepe Bipoli and Petit Aziza, guitarists Rigo Star, Syriana, and Bongo Wende. The group had nearly instantaneous success, with hit songs like "Mere Superieure," "Mabele Mokonzi," "Bokulaka," "Princesse ya Sinza," and others.
During the height of his success in 1977, Papa Wemba's family home, which had become a popular, some even said hallowed/special place for Matonge youths to gather "à la mode" (i.e., to be cool) was named the "Village Molokai," and Wemba assumed the exalted moniker "Chef Coutumier" (Chief) of the Village of Molokai. In those days people referred to Papa Wemba as the "chief from the heartland (village)" to differentiate him from Kinshasa-born musical bigshots Mavuela Somo and Mashakado. However years later Mavuela would say that their difficulties only simply amounted to trivial foolishness over money, ambition and fame between some very-young people (that at the time they all were).
Since 1977, Viva la Musica has seen both the 'defections' of musicians every two or three years and the entrée and emergence of other new talents. King Kester Emeneya (1977-1982), Koffi Olomide (1978-1979), Djuna Djanana (1978-1981), Dindo Yogo (1979-1981), Maray-Maray (1980-1984), Lidjo Kwempa (1982-2001), Reddy Amissi (1982-2001), Stino Mubi (1983-2001) are among the currently well-known Congolese musicians who have served at one time or another with Viva la Musica. An old Kinshasa anecdote says that a college student then-named Antoine Agbepa Koffi was such an impressive songwriter that one day in 1977 Papa Wemba exhorted, "Ooh! l'homme idee" (Oh! the idea-man!) thereby on-the-spot renaming the impressive young singer-songwriter Koffi 'Olomide'--and the name stuck!
After the wave of African emigration to Europe in the 1990s, Wemba maintained one group in Kinshasa (called at times "Nouvelle Ecriture," "Nouvel Ecrita," and now again "Viva la Musica") and another one in Paris ("Nouvelle Generation," "La Cour des Grands," and now "Viva Tendance"). He has also consistently maintained a very high profile in World Music with such great hits as "L'Esclave" (1986), "Le Voyageur, Maria Valencia" (1992), "Foridoles, Dixieme Commandement" (1994), "Emotion" (1995), "Pole Position" (1996), "Fula Ngenge" (1999), "Bakala dia Kuba" (2001), and "Somo Trop" (2003). Many would assign Wemba the status of African-music "living legend," as few others in history could claim (Franco Luambo, Tabu Ley Rochereau, and Miriam Makeba certainly among them).
Papa Wemba is also known as an actor. In 1987, he played the male lead role in the successful Zairean (Congolese) film La Vie est Belle by Belgian director Benoit Lami and Congolese producer-director Ngangura Mweze.
Baila Kinzonzi
Papa Wemba Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Elongi na yo o-o-oh é troubla nga motema o-o-oh
Soki na lali ba ndôtô sé ya yô é-é-eh
Depuis olinga ngaï misa ma nga makoma aveuglé o-oh
Ata maman alingi bébé na yé ndengé ninio
Suka suka na yé suka suka sé
Ako longola yé na mabélé o-oh
Elongi na yo o-o-oh é troubla nga motema o-o-oh
Soki na lali ba ndôtô sé ya yô é-é-eh
Depuis olinga ngaï misa ma nga makoma aveuglé o-oh
Ata maman alingi bébé na yé ndengé ninio
Suka suka sé ako longola yé na mabélé o-oh
Suka suka na yé suka suka sé ako longola yé na mabélé o-oh
Wendokolos aleaki-i-i-i Marie Lorissa o-oh
Nako tingama yo é-é-eh devant tout le monde o-oh
Bo ba kélélaka ndako té moto ya liso moko akumisaka Nzambé mingi o-oh
Surtout soki alomi aveugle
Baila-a-a-a-a-a-a-a
Baila-a-a-a-a-a-a-a
Baila-a-a-a-a-a-a-a
Baila-a-a-a-a-a-a-a
Soki na lali ba ndôtô sé ya yô é-é-eh
Depuis olinga ngaï misa ma nga makoma aveuglé o-oh
Ata maman alingi bébé na yé ndengé ninio
Suka suka na yé suka suka sé
Ako longola yé na mabélé o-oh
Soki na lali ba ndôtô sé ya yô é-é-eh
Depuis olinga ngaï misa ma nga makoma aveuglé o-oh
Ata maman alingi bébé na yé ndengé ninio
Suka suka sé ako longola yé na mabélé o-oh
Suka suka na yé suka suka sé ako longola yé na mabélé o-oh
Wendokolos aleaki-i-i-i Marie Lorissa o-oh
Nako tingama yo é-é-eh devant tout le monde o-oh
Bo ba kélélaka ndako té moto ya liso moko akumisaka Nzambé mingi o-oh
Surtout soki alomi aveugle
Baila-a-a-a-a-a-a-a
Baila-a-a-a-a-a-a-a
Baila-a-a-a-a-a-a-a
Baila-a-a-a-a-a-a-a
The song Baila Kinzonzi by Papa Wemba is a classic Congolese rumba song that speaks about the power of love and its ability to make one feel blinded and dizzy. The song opens with the lines "Elongi na yo o-o-oh é troubla nga motema o-o-oh" which translate to "Your beauty, oh, it troubles my heart." This sets the tone for the rest of the song, which sees Papa Wemba expressing his love for someone who has made him feel overwhelmed and blinded by their beauty.
The chorus, which repeats the word "Baila" (which means "dance" in Spanish), is an invitation to dance to the rhythm of love. The lyrics also touch on the themes of motherhood and childhood, with the following lines: "Ata maman alingi bébé na yé ndengé ninio" which means "When a mother loves her baby, she calls them Ninio." The song ends with a reference to Marie Lorissa and a call to dance.
Overall, the song Baila Kinzonzi is a beautiful expression of love and its power to make one feel both elated and overwhelmed.
Line by Line Meaning
Elongi na yo o-o-oh é troubla nga motema o-o-oh
Your beauty troubles my heart
Soki na lali ba ndôtô sé ya yô é-é-eh
If I sleep, may the devil take it away
Depuis olinga ngaï misa ma nga makoma aveuglé o-oh
Since you saw me, you made me go blind
Ata maman alingi bébé na yé ndengé ninio
Even his mother loved his baby in a new way
Suka suka na yé suka suka sé
His movements are quick
Ako longola yé na mabélé o-oh
He presses him against the ground
Wendokolos aleaki-i-i-i Marie Lorissa o-oh
Wendokolos comes and sees Marie Lorissa
Nako tingama yo é-é-eh devant tout le monde o-oh
I will testify in front of everyone
Bo ba kélélaka ndako té moto ya liso moko akumisaka Nzambé mingi o-oh
Even if they break the house, no one can separate the love blessed by God
Surtout soki alomi aveugle
Especially if you have blindness
Baila-a-a-a-a-a-a-a
Dance
Contributed by Dominic G. Suggest a correction in the comments below.
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@rubenkilosho1382
C’est ça la musique.
@josephmbambi8428
na leli makasi
@tkproductions79
Ah Papa 😪
@joelkabongo3994
PAPA WEMBA thats what it's said
@JMji23
1:18 ohbhum!!!
@jeanounou
Nani mpenza abetaki lindanda wana? Ca c'est du jazz vraiment, mawa trop mpona Congo moto apesaka ba artiste kilo te!
@EddiGomaMusic
Nakanisi que c'est Olivier Tshimanga