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Congolese musician and philanthropist (born 1994) From Wikipedia, the free encyclopedia
Elisabeth Finant (9 November 1954 – 28 September 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]
Abeti Masikini | |
|---|---|
 Abeti Masikini in 1978 | |
| Background information | |
| Birth name | Elisabeth Finant |
| Born | 9 November 1954 Stanleyville, Belgian Congo |
| Died | September 28, 1994 (aged 39) Villejuif, France |
| Genres | |
| Occupations |
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| Years active | 1971–1994 |
| Labels |
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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, Franco Luambo, among others, 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 over twenty studio albums for a variety of record labels including Les Disques Pierre Cardin, Pathé Records, Aziza, RCA Records, Polygram Records, among others.[2][16][17][4] She died of uterine cancer on 28 September 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]
Abeti Masikini was born on 9 November 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, Masikini's father, a Lumumbist party adherent, was assassinated in Bakwanga (now Mbuji-Mayi).[21][22] The family went into exile in Kinshasa, where 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, her devotion to music swelled. In 1971, she surreptitiously modified her birthdate, claiming to be 20 years old, to participate in Découverte des Jeunes Talents music contest organized by Gérard Madiata at the Parc de la Révolution (now Kinshasa Botanical Garden), where she secured 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, buoyed by several relatives, she established her band, Les Ecureuils, which included her younger brother, Jean Abumba Masikini, as the lead guitarist and performed in more intimate club venues.[24][12][13]
Pursuant to the Authenticité doctrine promulgated by President Mobutu Sese Seko, Masikini moved to West Africa to advance her upcoming album, embarking on tours in Benin, Ivory Coast, Senegal, Burkina Faso, Togo, Niger, Guinea, Ghana, and Nigeria. During her time in Nigeria, she crossed paths with Fela Kuti and collaborated with him in the same recording studio.[12][24][13] After her return to Zaire, she gradually faded from prominence due to the absence of records in the Zairean market.[12]
During a recital in Kinshasa at the Palladuim Theater, Masikini announced that her debut album, Pierre Cardin Présente: Abeti, was nearing its release.[23][12] Launched in 1973, the album was produced by Les Disques Pierre Cardin, an eponymous label owned by French fashion designer Pierre Cardin. It included hit singles such as "Mutoto Wangu", "Bibile", "Aziza", "Fulani", "Miwela", "Safari", and "Papa Yaka".[12][7][5] The lead single, "Bibilé," told a folk tale about a river guarded by malevolent spirits that had to be appeased before people could cross it and venture into the forest for hunting.[25] "Fulani" narrated a more urbanized story of two young girls gossiping about prospective husbands.[24] The album was a fusion of blues, soul, and folk melodies but did not initially receive critical acclaim from Kinshasa's public,[12] as 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 gained significant attention through television appearances, with her newly renamed group Les Redoutables, occasionally referred to as Les Tigresses or by their former moniker.[12][23] Backed by Abumba and Les Ecureuils, Abeti recorded the tracks and then joined Antoinette Etisomba Lokindji for concerts in Brussels at a conference on Zairean Authenticité.[25]
Before her scheduled concert at Paris's Olympia Hall on 19 February 1973, Masikini premiered the "Soleil à Dakar" show in Senegal, where she rehearsed with Les Redoutables and was attended by President Léopold Sédar Senghor.[12][13][26] She subsequently performed at Olympia Hall alongside Mireille Mathieu and Hugues Aufray, becoming the first African artist to do so since Tabu Ley Rochereau in 1970.[27] However, according to British musicologist Gary Stewart, she was unwell during the performance and played discreetly.[25] The concert's proceeds were dedicated to a relief fund to combat drought.[12][13]
Following her stint in Paris, Masikini leased a residence at Shelburne-Murray Hill Apartment Hotel in preparation for her upcoming concert in New York.[4] The subsequent month, on 11 March 1974, she wowed the audience at Carnegie Hall with Les Redoutables, 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, Masikini conveyed that the fundamental rhythm of her music is African and that African youth are "revolutionizing their music".[4] Following her performance, plans were set in motion for a nationwide tour across the US.[4]
In September 1974, she 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. Masikini shared the stage with James Brown, Miriam Makeba, Franco Luambo & OK Jazz, Zaïko Langa Langa, Tabu Ley Rochereau, Bill Withers, B. B. King, the Spinners, among others.[28][12][29]
Masikini released her second self-titled debut album Abeti Masikini in 1975, which was supported by eight singles "Likayabo", "Ngele Ngele", "Ngoyaye Bella Bellow", "Kiliki Bamba", "Yamba Yamba", "Naliku Penda", "Sungula", and "Acha Maivuno".[12][30] Produced by Pathé Records, a subsidiary of Pathé Marconi EMI, the album was distributed in various countries such as France and Mozambique.[30][31] It intricately encapsulated Zairean societal intricacies, cuisine, amorous entanglements, sexual turbulence, and women's emancipation.[25][23][32] The track "Ngoyale Bella Bellow" paid tribute to Bella Bellow, while "Kiliki Bamba" critiqued Mobutu's Authenticité while championing the cause of young girls against sexual predators. "Likayabo" praised the Zairean dish of salted fish, vegetables, and regional seasonings, while "Yamba Yamba" lamented men's deceit juxtaposed with women's enduring love.[32][23] The album brought Masikini acclaim in West Africa and led to an invitation by Bruno Coquatrix to perform on the Olympia Hall stage for two consecutive days in April 1975.[13][33] She was dubbed "the tigress with the golden claws" due to numerous rings adorning her fingers, and performed at Stade de Lomé later that year.[12][14]
In 1976, Masikini released her third studio album, Abeti à Paris, which included the original version of her song, "Mwana Muke Wa Miso."[23][34] The album was recorded and produced in Paris by Pathé and captures Masikini's musical journey and her connection to the city.[35][36][23] She subsequently took the stage in Amsterdam in 1977 and performed at the Cinéma Vog in Brazzaville the same year.[14]
During the mid-1970s, Masikini encountered her rival, M'Pongo Love, marking the first encounter since the inception of her career.[37][38] While M'Pongo Love was dominating the Kinshasa hit parade and the airwaves with her hit "Pas Possible Mati", Masikini's career experienced setbacks.[12] However, Gérard Akueson exhorted her to consent to a concert alongside M'Pongo Love at the Palladium Cinema, situated opposite the Hôtel des Postes on Boulevard Du 30 Juin.[12][39][40] Her African blues-folk style, previously well-received, drew criticism from some of her fandom.[12] Some critics contended that her repertoire, tailored more for Swahili-speaking audiences, failed to resonate with the broader Congolese populace, who preferred songs sung in Lingala.[12] Nonetheless, this same repertoire had propelled her to success beyond the country. In response to the critique, she released her self-titled fourth studio album, Abeti, which featured songs arranged in a different style, including "Bilanda-Landa", "Kizungu-Zungu" (co-written with Zenge-Zenge), "Inquiétude" (co-written with Ray Lema), "Banana", "Biso-Basi" (alternately known as "Nous Les Femmes", co-written with Zenge-Zenge), and "Folie-D'Amour" (co-written with Jean Abumba Masikini).[12][31] The album was produced by Gérard Akueson under the French label Capriccio, distributed by Music Control S.A.R.L., and printed by Applications et Réalisations Acoustiques ÉlectroMécaniques.[12][31] The instrumentalists included Soki Mikanda on alto saxophone, Zenge-Zenge on bass, Wawanko Joë on congas (tumba), Boffi Banengola on drums, Bikouta Sebastien on lead guitar, Ray Lema on piano, Gomez Watunda on rhythm guitar, Akunda on tenor saxophone, and N'Sambu M'Vula as the sound engineer.[12][31] The single "Kizungu-Zungu" successfully secured a spot in the top 10 Congolese music platforms.[12] Despite the adult-oriented criticism of her music in Kinshasa, her fandom predominantly comprised children who regularly attended her Super Abeti Show at the Palladium Cinema.[12][41] During this epoch, these young admirers affectionately dubbed her "auntie".[12] However, adults who favored a predilection for alternative rhythms rallied behind her, leading to the establishment of the fan club "Les Amis d'Abeti" (The Friends of Abeti), spearheaded by Antho Alves.[12]
While working on her forthcoming album, Visages, Masikini released the album's promotional single "Motema Pasi" (alternatively titled "Bilanda-Landa").[41] In 1978, she went to Paris for the album's production and teamed up with Slim Pezin as the arranger and producer, with the album debuting in Parisian markets the same year.[23][12] Produced by Pezin for the French record label BBZ Productions, Visages was distributed by RCA Records.[23][12][42] The album departed from her previous works as it incorporated disco but maintained its Congolese rhythms with some select tracks sung entirely in Swahili, Lingala, and French.[23][12] Despite criticism for straying from the traditional Congolese sound, Visages garnered some recognition in West Africa, Europe, and the Caribbean, where it topped all Afro-Caribbean hits of the time.[12][43] During a promotional tour in West Africa, Masikini seized the attention of Radio Netherlands and filmed Abeti en Holland, which featured songs from Visages in 1978.[43][12] Upon her return to Kinshasa, an extensive advertising campaign was launched to support Visages.[43][12]
In late 1978, she released her fifth studio album, Kupepe Suka. The album was again arranged and produced by Slim Pezin through BBZ Productions. Masikini 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.[41] She performed at Estádio da Cidadela 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, Masikini sought, after her return to Kinshasa, to broaden her audience. Collaborating for the first time with Kinshasa's prominent musical band, the OK Jazz, Masikini contributed two singles: "Na Pesi Yo Mboté" and "Bifamuri",[23][12] which featured Congolese music arrangements. "Na Pesi Yo Mboté" achieved widespread success in Kinshasa and Brazzaville, allowing her to establish her rage across the twin capitals.[12]
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In 1980, Masikini released her sixth studio album, Mokomboso, an eclectic mix of disco, pop, and African rhythms.[23][12] Produced in France by the Guadeloupean label Eddy'Son, run by Eddy Gustave, who arranged the record and played the alto saxophone, Mokomboso was supported with five singles: "Mokomboso", "Tchaku-Tchaku", "Mawazo", "Falanga", and "Sinahamu".[12][31] In March 1980, during an official visit by President Mobutu to China, singer Scu Mi Yin of the Chinese National Theater troupe replicated Masikini's style by performing two of her preceding hits from Visages: "Bisuivra Suivra" and "Motema Pasi", describing it as "the new Chinese Abeti".[12][41]
In 1981, to commemorate her ten-year career, Masikini debuted her eleventh studio album, Dixième anniversaire, which was arranged by Sammy Massamba and released by Dragon Phénix. Comprising six tracks, Dixième anniversaire was buoyed by several Congolese rumba hits: "Baruwa Kwa Mupenzi", "Chéri Badé", "Père Bouché", "Ndolindo", "Bilonda", and "Zaire Oye".[23][12][44] The breakout single "Chéri Badé" gained widespread national recognition and set a record for ten consecutive weeks at the top of the OZRT (Office Zaïrois de Radio-Télévision) chart.[12][44] Congolese rumba would become her preferred rhythm for years to come. However, her music began to lose some of the uniqueness that had previously set her apart from other artists in Zaire.[12] In 1982, Masikini performed in Copenhagen.[14] In 1984, she took up residence in Lomé with Les Redoutables until January 1986.[12][23] During her time in West Africa, her self-titled album Abeti was released in 1985 under the Gabonese record label Production IRIS, with distribution by Zika Production.[12] Featuring four tracks and arranged by Jacky Arconte, it was supported by the singles "Jalousie", "I Love You" (alternatively titled "Mwasi Ya Bolingo"), "Boyokani", and a version of "Na Pesi Yo Mboté".[12][45][46] The album's hit single "I Love You", produced early in 1982 and enjoying immense popularity, eventually became a sleeper hit in 1985. Abeti earned her a gold record, selling over 300,000 copies in Africa.[12]
In spring 1986, Masikini relocated to Paris and premiered the album Je suis fachée in France through a Parisian label Bade Stars Music. The album's soukous-inspired 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. Je suis fachée attained gold certification.[12][23] Masikini later performed at the Wembley Arena and participated in the Mama Africa Festival in Utrecht.[14]
In 1987, Masikini released her album En colère, which was produced by Gérard Akueson and distributed by Bade Stars Music.[23][12][47] She collaborated with Lokassa Ya M'Bongo and Georges Seba on the arrangement, with backing vocals by Ballou Canta, Dada Hekimian, Georges Seba, and Marylou Seba.[12][47][23] The drums were handled by Denis Hekimian and Boffi Banengola, with horns played by Eric Giausserand, Jacques Bolognesi, and Alain Hatot, bass by Michel Alibo, synthesizer by Philippe Guez, and percussion by Sam Ateba and Komba Bellow.[12][47] Wilfrid Harpaillé and Stéphane Teynié were the sound engineers.[12][47] The album's success earned her the moniker "Soukous Parfumé", with the single "Scandale De jalousie" becoming a smash hit in West Africa and West Indies.[12][47][23] Masikini promoted the album at Ouagadougou Stadium and appeared on the Champs alizés show in Martinique, where she received Maracas d'Or for En colère.[48][12][14]
I was in Beijing at the time of the events in Tiananmen Square. Students were marching and the authorities were talking about a party to explain the presence of the crowd. Any communication with the Chinese musicians who were playing with us was forbidden. At the end of each concert, we were taken back to our room without being able to share the pleasure of the tour with them.
Masikini's statement after her 1990 performance in Beijing (translated from French)[49]
In 1988, with the support of her international fan club led by Berthrand Nguyen Matoko, Masikini performed at the Zénith de Paris in front of 5,000 people on 24 September.[12][23][50] The performance featured several guest artists, including Bernard Lavilliers, Manu Dibango, Nzongo Soul, Pépé Kallé, Seba, Aurlus Mabélé, and François Lougah, and was broadcast live on Radio France Internationale.[12][41] The success of this show led to a contract with the multinational record company Polygram.[12] In 1989, Masikini toured China, delivering 17 galas alongside Scu Mi Yin in the country's major cities. She later performed at the Apollo Theater in Harlem.[51][23][12]
Masikini performed in Kinshasa at Palais du Peuple on 15 December 1990.[41] The next year, she released her final album, La Reine du Soukous.[52] Produced in France by Jimmy International Production and edited by Polygram, most of the tracks were solely written by Masikini, except for "Ousmane", co-written by Mayaula Mayoni, and "Ma Lu", co-composed by Georges Seba.[52][23][12] The album was arranged by Georges Seba and Lokassa Ya M'Bongo, with backing vocals from Dada Hekimian, Fédé Lawu, Georges Seba, Marylou Seba, Richard Lebrun, and Solo Sita.[52][12] La Reine du Soukous was supported by standout singles: "Mupenzi", "Ousmane", "Bebe Matoko", "Ma Lu", and "Je Suis Occupée," and a cover of "Mwana Muke Wa Miss".[23][12] In 1993, she took the stage at the LSC hall in La Plaine Saint-Denis on New Year's Eve.[23][14]
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]
Masikini died on 28 September 1994, in Villejuif, France, due to the progression of uterine cancer.[18][53][54][23][13] Her body was repatriated to Kinshasa on 9 October of the same year. She was posthumously honored with a medal of the National Order of the Leopard and was laid to rest on 10 October at the Gombe cemetery. The funeral ceremony was attended by several personalities, her family members, and devoted fans.[18][12]
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.[55][13][56][57][58][59] 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.[60]
Her style of makeup, fashionable hairstyles, and clothing had a significant influence on several African women.[60] 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".[60]
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.[61][62]
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