Gabón

Modern music in Gabón got somewhat of a late start, compared to the music of other African nations that have come to international prominence. Gabón did not go through a protracted war for independence accompanied by an awakening of national pride, which in other countries led to the transposing of traditional indigenous music to modern instruments and lyrics that expressed national pride and revolutionary defiance.

Instead of beginning with the push for independence, modern Gabónaise music did not really begin until blind poet, singer, composer, dramatist, and guitarist Pierre Akenzengue released his first record in 1974. His experimental and progressive music is indicative of a musician who was classically trained and educated in Europa, and not at all typical or reflective on modern Gabónaise music. However, it marked the first recording release by an artist from Gabón and brought the country to the attention of African music aficionados in Europa.

The Fang are the dominate ethnie in Gabón, and they traditionally inhabit the Northern third of the country above the OgoouŽ River. Their territory extends into Guinea Ecuatorial and the Southern region of the Cameroun. Makossa, which is regarded as the signature homegrown music style of the Cameroun, dominates the music scene in all three countries. Rhumbas are also quite popular in Gabón, as they are throughout West Africa.

Several events sparked the music scene in Gabón: the inauguration of Africa No. 1, the radio voice of LibrŽville, which broadcasts 18 hours of non-stop West and Central African music and can be heard across the continent and even in Europa under the proper conditions; and the opening in 1985 of Studio Mademba, run by engineer/producer Ambroise Voundi, a modern 24-track recording studio that also had its own record label ƒditions Mademba.

Several production companies and labels subsequently set-up shop in LibrŽville. Not only were local artists being recorded for the first time, but soon artists from the Cameroun, the rest of West Africa, and even Antilles Fran�aises by way of Paris, were journeying to LibrŽville to record. Dozens of classic hit recordings were produced at Mademba and released on Gabóna•se labels, and as the talent pool in Gabón began to get recognition many Gab—na•se artists were recording on labels based in Paris.

Members of Kassav' performed on and helped arrange several classic recordings by Gabónais artists on Gabónais labels, including "Papi" by Ang�le AssŽlŽ, "Malongui" and "Jonas" by Etienne Madama, and a half dozen recordings by Les DiablotinsÑall on ƒditions Mademba; and "Afrik Mizik" by RŽgine FŽline, on ƒditions Tshi Tshi.

ƒditions Mademba with the help of Kassav' also produced and released "Le Margouillat" by Daouda from Côte d'Ivoire and "No Make Erreur" by Lapiro de M'Banga from the Cameroun which featured Jimmy Cliff from Jamaica.

Moussa Ha•ssam's Ha•ssam Records produced and recorded "Sida", "Crise ƒconomique" and "La Detente" by Hilarion Nguema and "Pas Argent No Love" by Lapiro de M'Banga at Mademba. Safari Ambiance in Paris released "Opwa" by Pierre Clavier Zeng.

In the short space of a few years, LibrŽville had been responsible for more international hits than had Abidjan, or any other location in Africa, in the previous ten years. LibrŽville seemed on its way to rivaling Abidjan as the heart of West African music. Yet, by the end of the decade the LibrŽville music scene had disappeared as quickly as it emerged. The labels and production companies ceased operations, and Mademba was no longer a recording destination. The exact reasons for the collapse remain a mystery to all but those involved. It is quite possible that the difficulties in getting to LibrŽville and the xenophobic attitudes presented by Gabón may have contributed to the scene's downfall.

Today, Gabónais artists such as Ang�le AssŽlŽ, Hilarion Nguema, and Pierre Clavier Zeng live and record sporadically in Paris. Les Diablotins, RŽgine FŽline, and Madama apparently have retired. Gabónaise music seems to have been completely forgotten, as though it never existed. Gabón is not even listed in many of the leading books covering African music, such as the "Rough Guide To World Music", the "Rough Guide To Africa", or the music section of "Lonely Planet's Africa on a Shoestring".

More information on Gabón can be acquired at the following websites:

www.sas.upenn.edu/African_Studies/Country_Specific/Gabon.html
www.africa.com/news
www.allafrica.com
www.nabou.com/regional_news/
www.ips.org.index.htm
www.mbendi.co.za

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Gabón