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Soukous (also known as Lingala or Congolese rumba) is a popular genre of dance music that originated in the Congo basin during the 1940s, strongly influenced by Cuban son. The style gained popularity throughout Africa during the 1960s and '70s. Soukous is known as Lingala in Kenya, Uganda and Tanzania after the Lingala language of the lyrics. In Zambia and Zimbabwe, where Congolese music is also influential, it is still usually referred to as rumba. Today, it incorporates other styles such as the kwasa kwasa and the fast tempo zouk. It is also an individual dance. ==History== In the 1930s and 1940s, Afro-Cuban son groups such as Septeto Habanero, Trio Matamoros and Los Guaracheros de Oriente were played over Radio Congo Belge in Léopoldville (Kinshasa), gaining widespread populariry in the country during the following decades.〔''The Encyclopedia of Africa v. 1''. 2010 p. 407.〕 Once local bands tried to emulate the sound of Cuban son (incorrectly referred to as "rumba" in Africa, despite being unrelated to Cuban rumba), their music became known as "soukous", a derivative of the French word "secouer" (literally, "to shake").〔"(Soukous dance king rules Kinshasa (BBC) )"〕 By the late 1960s, soukous was an established genre in most of Central Africa, and it would also impact the music of West and East Africa. To Africans, Cuban popular music sounded familiar〔Nigerian musician Segun Bucknor: "Latin American music and our music is virtually the same"—quoted by Collins, John (1992: 62). ''West African Pop Roots''. Philadelphia: Temple University Press.〕 and Congolese bands started doing Cuban covers, singing the Spanish lyrics phonetically. Eventually they created original compositions with lyrics in French or Lingala, a "lingua franca" of the western Congo region. The Cuban horn ''guajeos'' were adapted to guitars.〔Roberts, ''Afro-Cuban Comes Home'' (1986).〕 The Congolese called this new music "rumba", though it was more based on "son". Antoine Kolosoy, also known as Papa Wendo, became the first star of African rumba, touring Europe and North America in the 1940s and 1950s with his regular band, Victoria Bakolo Miziki.〔(Wendo Kolosoyi )〕 By the 1950s, big bands had become the preferred format, using acoustic bass guitar, multiple electric guitars, conga drums, maracas, scraper, flute or clarinet, saxophones, and trumpet. Grand Kalle et l'African Jazz (also known as African Jazz) led by Joseph Kabasele Tshamala (Grand Kalle), and OK Jazz, later renamed TPOK Jazz (''Tout Puissant Orchestre Kinshasa'', meaning "all-powerful Kinshasa band") led by Franco became the leading bands. One of the musical innovations of Franco's band was the ''mi-solo'' (meaning "half solo") guitarist, playing arpeggio patterns and filling a role between the lead and rhythm guitars.〔(Franco and his Great Band )〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「soukous」の詳細全文を読む スポンサード リンク
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