Abeti Masikini

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Abeti Masikini
blues
  • world
  • pop
    • Occupation(s)
    • Singer
    • songwriter
    • dancer
    • record producer
    • bandleader
    • philanthropist
    LabelsAziza
    Polygram Records

    Gérard Akueson

    Elisabeth Finant (November 9, 1954 – September 28, 1994), cognomenously known as Abeti Fina‐Masikini or simply Abeti Masikini, was a Congolese singer, composer, bandleader, and philanthropist.[1][2][3][4] With a nearly three-decades-long career, she was a significant figure in 20th-century Congolese and African popular music. Often referred to as the "Queen of Soukous", she is noted for advocating gender equality, modernizing Congolese music, and inspiring successive generations of musicians. Her band, Les Redoutables, was a launching pad for numerous female artists.[5][6][7][8][9][10]

    Born in Kisangani, then part of the Belgian Congo and now the Democratic Republic of the Congo (DRC), Abeti Masikini made her public debut in 1971 after being discovered by Togolese producer Gérard Akueson, following her feat in the Découverte des Jeunes Talents music contest organized by singer Gérard Madiata.[1][11][12][13] Her debut album, Pierre Cardin Présente: Abeti, released in 1973, propelled her into the limelight, earning televised prominence and selling out numerous concert venues in Europe and the US, including Olympia Hall and Carnegie Hall[14][4] In the ensuing year, she shared the stage with James Brown, Tabu Ley Rochereau, Miriam Makeba, and Franco Luambo during the opening show of the Rumble in the Jungle in October 1974. Her sophomore album La voix du Zaire, l’idole de l’Afrique, released in 1975, earned her numerous European performances.[12][15][14]

    Throughout her 20-year career, Abeti Masikini has recorded a succession of 21 studio albums for a variety of record labels including Aziza,

    Polygram Records among others.[2][16][17][4] She died of uterine cancer on September 29, 1994, in Villejuif, Paris.[18][19][12]

    She was the first Congolese female artist to lead her own band as well as the first Central African female artist to perform at major venues in Europe and America, such as Zénith Paris, Carnegie Hall, Olympia Hall, Royal Albert Hall, Wembley Arena, and Appollo Theater.[3][12][14]

    Early life and career

    Abeti Masikini was born on November 9, 1954, into a Finant family, an upper-middle-class Congolese family of eight children in Stanleyville (now Kisangani), Belgian Congo.[1] Her father, Jean-Pierre Finant, served as the first native Congolese governor of the Orientale Province in the then Republic of the Congo.[14][20] Abeti Masikini's mother, Marie Masikini, was a church's choir-leading vocalist at Institut des Prêtres du Sacré-Coeur (or Collège du Sacré-Coeur: now Institut Maele). Abeti Masikini began singing as a chorister in her mother's church at an early age.[1][4]

    In 1961, her father, a Lumumbist party adherent, was assassinated in Bakwanga (now Mbuji-Mayi).[21][22] The family went into exile in Kinshasa, where Abeti Masikini matriculated at the Lycée Sacré-Cœur (now Lycée Bosangani). After completing her secondary studies, she worked as a secretary in the office of the Minister of Culture Pierre Mushete.[23][12]

    While working as a secretary, Abeti Masikini's devotion to music swelled. In 1971, she surreptitiously modified her birthdate, claiming to be 20 years old, to participate in the "Découverte des Jeunes Talents", a music contest organized by Gérard Madiata at the Parc de la Révolution (now Kinshasa Botanical Garden), securing the third position.[12][13][2] At the end of 1971, Togolese manager and producer Gérard Akueson, then overseeing singer Bella Bellow, spotted her during a performance in Kinshasa and became her manager. In mid-1972, bolstered by a few relatives, she established her ensemble, Les Alouettes, with her younger brother, Jean Abumba, as the leading guitarist and performed in more intimate club venues.[12][13]

    1972–1974: Pierre Cardin Présente: Abeti, Olympia Hall, Carnegie Hall, and Zaire 74

    Pursuant to the Authenticité doctrine promulgated by President Mobutu Sese Seko, Abeti Masikini relocated to West Africa to continue working on her forthcoming album, touring in Benin, Ivory Coast, Senegal, Burkina Faso, Togo, Niger, Guinea, Ghana, and Nigeria, where she met Fela Kuti, and records in the same studio.[12][13] Upon her return to Congo, she slipped into obscurity due to the absence of albums in the Congolese music market.[12]

    During a recital in Kinshasa at the Palladuim Theater, Abeti Masikini announced that her debut album, Pierre Cardin Présente: Abeti, was nearing completion.[23][12] Released in 1973, the album was produced by Les Disques Pierre Cardin, an eponymous label owned by French fashion designer Pierre Cardin. It featured chart-topping singles such as "Mutoto Wangu", "Bibile", "Aziza", "Miwela", "Safari", and "Papa Yaka".[12][7][5] The album blended blues, soul, and folk melodies, which did not receive critical acclaim from Kinshasa's public.[12] Abeti Masikini's Swahili-accented voice and eclectic musical influences relegated her to being classified as a "foreign singer".[23][12] Despite the skepticism, the album received copious television appearances, with her newly christened ensemble Les Redoutables, as well as her dance troupe Les Tigresses.[12][23]

    While on her way to perform at the Olympia Hall in Paris, scheduled on February 19, 1973, she executed the show "Soleil à Dakar" in Senegal in front of President Léopold Sédar Senghor. She later performed at the Olympia Hall alongside Mireille Mathieu and Hugues Aufray, becoming the first African artist to do so since Tabu Ley Rochereau in 1970. The concert's proceeds were earmarked for a relief fund combatting drought.[12][13][24]

    Following her stint in Paris, Abeti Masikini leased a residence at Shelburne‐Murray Hill Apartment Hotel for her forthcoming concert in New York.[4] The subsequent month, on March 11, 1974, she wowed the audience at Carnegie Hall with her ensemble and dance troupe, accompanied by electric guitars and bass as well as modern conga drums.[4] She became one of the "few female African vocalists" to have performed in the US, following Miriam Makeba and her protégée, Letta Mbulu.[4] In an interview with The New York Times, she conveyed that the fundamental rhythm of her music is African and that African youth are "revolutionizing their music".[4] Following her Carnegie Hall performance, endeavors were made to organize her nationwide tour across the US.[4]

    In September 1974, Abeti Masikini participated in Zaire 74, a promotional musical festival event for the heavyweight boxing championship match between Muhammad Ali and George Foreman, billed as The Rumble in the Jungle. She shared the stage with James Brown, Miriam Makeba, Franco Luambo & OK Jazz, Zaïko Langa Langa, Tabu Ley Rochereau, Bill Withers, B. B. King, and the Spinners.[25][12][26]

    1975–1979: La voix du Zaire, l'idole de l'Afrique, Abeti à Paris, Visages, and Kupepe Suka

    In 1975, Abeti Masikini released her second album, La voix du Zaire, l'idole de l'Afrique, featuring hit singles such as "Likayabo", "Ngele Ngele", "Ngoyaye Bella Bellow", "Kiliki Bamba", "Yamba Yamba", "Naliku Penda", "Sungula", and "Acha Maivuno".[12][27][23] Produced by Gérard Akueson, the album intricately encapsulated Zairean societal intricacies, cuisine, amorous entanglements, sexual turbulence, and the emancipation of women.[23][27] The track "Ngoyale Bella Bellow" was a tribute to Bella Bellow, while "Kiliki Bamba" critiqued Mobutu's Authenticité while championing the cause of young girls against sexual predators. "Likayabo" extolled the Zairean dish of salted fish, vegetables, and regional seasonings.[27][23] Meanwhile, "Yamba Yamba" lamented men's mendacity juxtaposed with the enduring love of women.[23][27] The album catapulted her acclaim in West Africa, and was subsequently invited by Bruno Coquatrix to perform on the Olympia Hall stage for two consecutive days in April 1975.[13][28] Following her performances, she was dubbed "the tigress with the golden claws" due to numerous rings adorning her fingers.[12] She performed at the Stade de Lome later that year.[14]

    In 1976, Abeti Masikini released her third studio album, Abeti à Paris, which included the original version of her song, "Mwana Muke Wa Miso". She subsequently took the stage in Amsterdam in 1977 and performed at the Cinéma Vog in Brazzaville the same year.[23][14][12][29]

    While working on her forthcoming album, Visages, she released album promotional single "Motema Pasi" (alternatively known as "Bilanda-Landa").[30] In 1978, Abeti Masikini toured Paris for album's productions. She teamed up with arranger and producer Slim Pezin for the album's production.[23][12] Visages departed from her previous works as it incorporated disco music, but maintained its Congolese rhythms with some select tracks sung entirely in Swahili, Lingala, and French.[23][12] Abeti Masikini faced backlash for producing music that strayed from the authentic Congolese style.[12] To promote her unreleased album, she embarked with her band on a West African tour. Upon her return to Kinshasa, an extensive advertising campaign was launched to announce her comeback and the release of her album.[12] The album includes the singles "Assa Mubire", "Motema Pasi", "Bi Suivra Suivra", "Musampa", "Unipé", "Mateso Ya Dunia", "Fulu Kombé", and "Usisilike". Visages garnered some recognition in West Africa, Europe and the Caribbean.[12]

    In late 1978, she released her fifth studio album, Kupepe Suka. The album was arranged and produced by Slim Pezin. She offers her gratitude to her fanbase in the track "Ngblimbo" and pays homage to her hometown Kisangani with the track "Singa Mwambé".[12][23] The album's eponymous lead single, "Kupekusa", became the anthem of the Zairean national football team.[30] She performed at the Stade in Luanda in 1978[14] and later took the stage at the Royal Albert Hall in London in 1979.[7][12]

    Leveraging on the success of her two preceding albums, she sought, upon her return to Kinshasa, to broaden her audience. Collaborating for the first time with Kinshasa's prominent musical band, the OK Jazz of Franco Luambo Makiadi, she contributed two singles: "Na Pesi Yo Mboté" and "Bifamuri".[23][12] These compositions featured Congolese music arrangements. "Na Pesi Yo Mboté" achieved widespread success in Kinshasa and Brazzaville, allowing her to establish her rage across Zaire.[12]

    1980–1989: Mokomboso, Dixième anniversaire, Abeti, Je suis fachée, En colère, and Soukous Parfumé

    In 1980, Abeti Masikini released her sixth studio album, Mokomboso, an eclectic mix of disco, pop, and African rhythms.[23][12] In March 1980, during an official visit by President Mobutu to the People's Republic of China, singer Chu Mi Yun of the Chinese National Theater troupe replicated Abeti Masikini's style by performing two of her preceding hits: "Bisuivra Suivra" and "Motema Pasi", describing it as "the new Chinese Abeti".[12][30]

    To celebrate her ten-year career, Abeti Masikini debuted Dixième anniversaire (Tenth Anniversary) in 1981, an extended play (EP) arranged by Sammy Massamba featuring several Congolese rumba ballads: "Baruwa Kwa Mupenzi", "Chéri Badé", "Père Bouché", "Ndolindo", "Bilonda", and "Zaire Oye".[23][12] The EP's lead single, "Chéri Badé", gained popularity within the Congolese community.[12]

    Transitioning to the Congolese rumba, Abeti Masikini released the single "I Love You" (Mwasi Ya Bolingo) in 1982,[12] followed by a performance in Copenhagen.[14] At the end of the year, she released her eighth studio album, Abeti, featuring standout hits "Jalousie" and a rendition of "Na pesi Yo Mboté". This album earned her a gold record, with over 300,000 copies sold in Africa. In 1984, she resided in Lomé with her musical ensemble until January 1986.[12][23]

    In spring 1986, Abeti Masikini relocated to Paris and released the EP Je suis fachée. The EP's eponymous lead single was written, arranged, and produced by Cameroonian singer Georges Seba, with "Lolo" composed by Nyboma.[23][12] It gained popularity in the Caribbean during a phase when the West Indian group Kassav dominated the Afro-Caribbean music scene. The EP attained gold certification.[12][23] Abeti Masikini later performed at the Wembley Arena and participated in the Mama Africa Festival in Utrecht.[14]

    In 1987, Abeti Masikini released En colère (EP), which included collaboration with Mpise Thezenas and Seba.[23][12] Midway through 1987, she released the Soukous Parfumé. The album's lead single, "Scandale De jalousie", became a hit in the West Indies and West Africa.[12][23] She promoted her EP at the Ouagadougou Stadium and took part in the Champs alizés show in Martinique, receiving the Maracas d'Or accolade for the album.[31][12][14]

    In 1988, with the support of her international fan club led by Berthrand Nguyen Matoko, Finant performed at the Zénith de Paris in front of 5,000 people on September 24.[12][23][32] The performance featured several guest artists, including Bernard Lavilliers, Manu Dibango, Seba, and François Lougah, and was broadcast live on Radio France Internationale (RFI).[12][23] The success of this show led to a contract with Polygram.[12]

    In 1989, Abeti Masikini toured China, delivering 17 galas alongside Yun in the country's major cities. She later performed at the Apollo Theater in Harlem.[23][12]

    1990–1993: La Reine du Soukous

    In 1990, Abeti Masikini released her final album, La Reine du Soukous. The album includes standout singles: "Mupenzi", "Ousmane", "Bebe Matoko", "Ma Lu", and "Je Suis Occupée", and a rendition of "Mwana Muke Wa Miss".[23][12] She performed in Kinshasa at the Palais du Peuple in December 1990 and concluded her final performance in the LSC hall in La Plaine Saint-Denis on New Year's Eve 1993.[23][14]

    Illness and death

    Abeti Masikini was diagnosed with uterine cancer while working on her final album, which eventually progressed during her time in Paris. The illness kept her away from the public in the subsequent months, leading her to take a short hiatus from music.[23][12]

    Finant died on September 28, 1994, in Villejuif, France, due to the progression of uterine cancer.[18][33][34][23][13] Her body was repatriated to Kinshasa on October 9 of the same year. She was posthumously honored with a medal of the National Order of the Leopard (Ordre national du Léopard) and was laid to rest on October 10 at the Gombe cemetery. The funeral ceremony was attended by several personalities, her family members, and devoted fans.[18][12]

    Legacy

    Abeti Masikini is one of the most prominent figures in contemporary African music. She is one of the Congolese female artists who carved a professional niche in the male-dominated music scene.[35][13][36][37][38][39] Her ensemble Les Redoutables is considered to be one of the greatest "musical schools" as many notable artists have passed through it, including M'bilia Bel, Lokua Kanza, Abby Surya, Malage De Lugendo, Tshala Muana, Yondo Sister, Lambio Lambio, Komba Bellow, Richard Shomari, and Joëlle Esso (dancer), among others.[40]

    Her style of makeup, fashionable hairstyles, and clothing had a significant influence on several African women.[40] In West Africa, the straight skirt with a slit is known as the "Abeti skirt", and a wax fabric was named after her hit song "Scandale De Jalousie".[40]

    In 2014, a documentary film titled Abeti Masikini: Le Combat d'Une Femme was released, which traces Abeti Masikini's life and artistic journey. The film was directed by Laura Kutila and Ne Kunda Nlaba.[41][42]

    Discography

    Albums

    • 1973: Pierre Cardin Présente: Abeti (Les Disques Pierre Cardin/Sonafric) Ref: SAF 93501
    • 1975: La voix du Zaire, l'idole de l'Afrique (Pathé Marconi/EMI) Ref: 2C O64 15741
    • 1976: Abeti à Paris (Pathé Marconi/EMI) Ref: 2C06215.772
    • 1977: Abeti (Capriccio) Ref: 37014
    • 1977: Visages (BBZ productions/RCA) Ref: BZL 7014
    • 1978: Abeti: Kupepe Suka (BBZ productions/RCA) Ref: BZL 7019, RCA – BZL 7019
    • 1979: Na Pesi Yo Mboté (45 rpm)
    • 1979: Bifamuri (45 rpm)
    • 1979: Mbanda Na Ngai (45 rpm)
    • 1980: Mokomboso (Eddy'son/ Sonics Records) Ref: 79398 / 79398
    • 1981: Dixième anniversaire (Dragon Phoenix) Ref: DPX 829
    • 1982: Abeti (Iris production) Ref: IRS 001
    • 1983: Abeti: Naleli (Zika Production)
    • 1984: Amour Ya Sens Unique (IAD/African Record Industry) Ref:IAD/S 0015
    • 1984: Abeti & Eyenga Moseka: The Duo Of The Century (IAD/ African Record Industry) Ref: IAD/S 0016
    • 1985: Ba Mauvais Copiste (Win Records/Africa New Sound/Tabansi) Ref: WNL 403, ANS 8402
    • 1985: Samoura (Bade Stars Music) Ref: AM 030
    • 1986: Je suis fachée (Bade Stars Music) Ref: AM 033
    • 1987: En colère (Bade Stars Music) Ref: AM 035
    • 1988: Scandale de jalousie ( maxi 45 rpm ) (Polygram/ LAB) Ref: LAB 101
    • 1990: La Reine du soukous (AMG/Polygram)

    Reissue

    • 2013: Le Tube Chéri Bade (Biobionava/ G.Akueson). Reissue of the Tenth Anniversary album .

    Bibliography

    • Berthrand Nguyen Matoko (1999). Abeti Masikini la voix d'or du Zaïre. L'Harmattan.
      ISBN 2-738-47823-9
      .

    References

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    2. ^ a b c Kanka, Joseph (September 24, 2004). "Congo-Kinshasa: Du 27 septembre au 9 octobre 2004, un grand Hommage à Abeti Masikini" [Congo-Kinshasa: From September 27 to October 9, 2004, a great tribute to Abeti Masikini]. AllAfrica (in French). Retrieved 2023-10-19.
    3. ^ a b Lokale, Prisca (2021-12-28). "RDC : Yolanda, la fille aînée de Abeti Masikini a été enterrée ce mardi". Actualite.cd (in French). Kinshasa, Democratic Republic of the Congo. Retrieved 2023-11-16.
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    5. ^ a b Balde, Assanatou (2016-05-08). "Paris rend hommage à la grande diva congolaise Abéti Masikini". Afrik (in French). Retrieved 2023-11-16.
    6. ^ Matanda, Alvin (2023-09-12). "Découvrez l'histoire captivante d'Abeti Masikini : une légende inoubliable". Music In Africa (in French). Retrieved 2023-11-14.
    7. ^ a b c Kayumba, Arthur (September 28, 2019). "Musique: Abeti Masikini demeure la "tigresse aux griffes d'or" forever". Mediacongo.net (in French). Kinshasa, Democratic Republic of the Congo. Retrieved 2023-11-16.
    8. ^ New African, Issues 184-195. London, United Kingdom: IC Magazines Limited. 1983. p. 56.
    9. ^ "Musique: les 20 ans de la mort d'Abeti Masikini seront commémorés au Grand Hôtel Kinshasa". Radio Okapi (in French). 2014-11-21. Retrieved 2023-11-17.
    10. ^ "Noëlla Ndaya dénonce les harcèlements et toutes formes de violences faites contre les femmes en milieux professionnels dans sa chanson "promotion canapé"". Radio Okapi (in French). 2021-04-24. Retrieved 2023-11-17.
    11. ^ MN la revue du monde noir bingo, Issues 444-453 (in French). Paris, France: Bingo. 1990. p. 47.
    12. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an ao ap aq ar as at "musicMe: Biographie de Abeti Maskini". musicMe. Retrieved 2023-11-14.
    13. ^ a b c d e f g h "Abeti Masikini Finant Elisabeth 1954 -1994". Universrumbacongolaise.com (in French). 2012-06-19. Retrieved 2023-11-17.
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    16. ^ "Congo-Kinshasa: La femme dans la musique congolaise : muse et actrice" [Congo-Kinshasa: Women in Congolese music: muse and actress]. AllAfrica (in French). March 12, 2005. Retrieved 2023-10-19.
    17. ^ Diop, Jeannot ne Nzau (March 12, 2005). "Congo-Kinshasa: La femme dans la musique congolaise de 1960 en 2005". AllAfrica. Retrieved 2023-10-19.
    18. ^ a b c Jeune Afrique, Issues 1749-1773 (in French). Paris, France: Les Editions J.A. 1994. p. 46.
    19. ^ Matanda, Alvin (2023-09-12). "Découvrez l'histoire captivante d'Abeti Masikini : une légende inoubliable". Music In Africa (in French). Retrieved 2023-10-19.
    20. ISBN 978-2-296-04914-7
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    21. ISBN 978-2-84586-006-3
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    22. ISBN 978-0-89950-312-7
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    23. ^
      ISBN 978-2-296-38726-3
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    24. ISBN 978-0-7137-1551-4
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    25. ISBN 978-0-8232-9915-7
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    26. ^ "Afropop Worldwide | Zaire 74: The African Artists". Afropop Worldwide. Retrieved 2023-11-18.
    27. ^ a b c d Abeti Masikini: La Voix Du Zaire L'idole D' Afrique (in English and French), 45worlds.com, 1975, retrieved 2023-11-17
    28. ISBN 978-2-296-38726-3
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    29. ^ Abeti - Abeti à Paris (in English and French), Beaverton, Oregon, United States, 1976, retrieved 2023-11-18{{citation}}: CS1 maint: location missing publisher (link)
    30. ^ a b c Clerfeuille, Sylvie (2007-08-02). "Elisabeth Finant: Abeti Masikini". Afrisson (in French). Retrieved 2023-11-18.
    31. ^ MN la revue du monde noir bingo, Issues 408-419 (in French). Bingo. 1987. p. 50.
    32. ^ Bingo, Issues 454-461 (in French). Bingo. 1991. p. 40.
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    34. ^ L'autre Afrique, Issues 85-95 (in French). Paris, France: Continental News. 1999. p. 57.
    35. ^ Mukuna, Kazadi Wa (2014-12-06). "Legends of Congolese music". Music In Africa. Retrieved 2023-11-18.
    36. ^ Nyanchama, Venic (2022-07-03). "Top 10 female rhumba artists of all time: Who ranks at the top?". Tuko.co.ke - Kenya news. Retrieved 2023-11-18.
    37. ^ Skander (2023-07-28). "Beyond Mainstream: Spotlighting Female Musicians of DR Congo | kitokongo". Retrieved 2023-11-18.
    38. ^ "Le 26ème anniversaire de la disparition d'Abeti Masikini vécu dans la méditation" [The 26th anniversary of the disappearance of Abeti Masikini lived in meditation]. ACP (in French). 2020-09-30. Retrieved 2023-11-18.
    39. ^ "Congolese Culture". Friends of the Congo. Retrieved 2023-11-18.
    40. ^ a b c "Musique: 20 ans après… pourquoi pas Abeti Masikini ?". Mediacongo.net (in French). Kinshasa, Democratic Republic of the Congo. September 23, 2014. Retrieved 2023-11-18.
    41. ^ "Films | Africultures : Abeti Masikini, Le Combat d'une Femme". Africultures (in French). 2014. Retrieved 2023-11-18.
    42. ^ Kianimi, Patrick (January 22, 2014). "7e art : un documentaire sur la vie d'Abeti Masikini en préparation". www.adiac-congo.com. Retrieved 2023-11-18.
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