{"id":78483,"date":"2025-02-09T20:14:19","date_gmt":"2025-02-09T20:14:19","guid":{"rendered":"https:\/\/peraltafinancing.com\/african-music\/africoriginal-tshala-muana-1958-2022\/"},"modified":"2025-02-09T20:14:19","modified_gmt":"2025-02-09T20:14:19","slug":"africoriginal-tshala-muana-1958-2022","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=78483","title":{"rendered":"AfricOriginal: Tshala Muana 1958 – 2022"},"content":{"rendered":"


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Lisabeth Tshala Muana Muidikay,<\/i> also known as Tshala Muana<\/i>, ‘The Queen of Mutuashi’<\/i> was born on 13 March 1958 in Lubumbashi. She was the second in a family of ten children. Her mother, Alphonsine Bambiwa Tumba<\/i> was widowed in 1964 after her husband Muidikay Amadeus<\/i> was killed as a soldier by supporters of the deposed and murdered democratically elected President Patrice Lumumba.<\/span><\/p>\n

From her childhood, little Elise sang in the church of the Kibembe army camp in what was then Elisabethville. In 1967, two years after the death of her father, her mother moved with the children to Kananga and in the early 70s she settled in Kinshasa.\u00a0 There she started her professional career in 1976 as a dancer in the new group of singer M’Pongo Love<\/i>. Afterwards, she was also part of the band Minzoto Wella Wella<\/i> and of Les Tigresses d’Abeti Masikini<\/i> for some time.<\/span><\/p>\n

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In 1978, she left for West Africa for a new musical adventure. It started in the Central African Republic and ended via Nigeria and Togo in Ivory Coast. It was in the same period that Sam Mangwana and his African All Stars settled in Abidjan and from there conquered West Africa with their infectious Congolese sound. It was also in Abidjan that the Ivorian artist and producer Jimmy Hyacinthe<\/i> noticed her versatile talent as a singer, dancer and choreographer and included her in his band. It was also with Hyacinthe that she went to Paris in 1982 to record her first 12Inch 45rpm single, with on the a-side a pop song sung in French entitled ‘Amina’<\/i>\u00a0and on the b-side the song ‘Tshebele’<\/i>, a piece based on the mutuashi rhythm of the Baluba people from the southern Kasai region in Congo. Due in part to the sensual choreographies during her live performances, her fame quickly grew in C\u00f4te d’Ivoire and the surrounding countries.<\/span><\/p>\n

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\u266b Audio 1982: Tshala Muana \u2013 Tshebele<\/b><\/span><\/a><\/p>\n

In 1984 she returned for a longer period to Paris, which in
\nthat period increasingly became the centre of African pop music. There,
\ntogether with Cameroonian bassist, arranger and producer Aladji Tour\u00e9<\/i>, she
\nrecorded several albums – ‘Kami’, ‘Mbanda Mati\u00e8re’ and ‘M’Pokolo’ <\/i>– for the Safari
\nAmbiance<\/i> label. In those days she also started working with Congolese guitarist
\nRigo Bamundele Star<\/i>. Tshala wrote most of her songs herself and unlike many
\nother Congolese artists, she did not limit herself to the Congolese rumba sung
\nin Lingala and its up-tempo offshoot soukous. On her albums and in her shows,
\nshe gave a prominent place to songs in the mutuashi rhythm, sung in her mother
\ntongue Tshiluba. It is not too much to say that the modernisation of this
\nrhythm and the subsequent popularity of the mutuashi is largely due to Tshala
\nMuana. After Abidjan and Paris, she now wanted to conquer her homeland with her
\nmusic. In 1986, she returned to Kinshasa for a number of concerts to
\nreintroduce herself “at home”.\u00a0
\nAlthough her concerts were received with enthusiasm, it soon became
\nclear that the weak economy made it impossible for an artist to make a living
\nin Congo.<\/span><\/p>\n

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\u266b Live 1987: Lwa Touye \u2013 Tshala Muana en concert \u00e0 Utrecht, Hollande<\/b><\/span><\/a><\/p>\n

She returned to Paris to continue her career from there. She
\ndid this by releasing new albums with annual regularity and then touring in
\nEurope and Africa. Alongside Mbilia Bel, she developed into one of the ‘Leading
\nLadies’ of Congolese music in the late 1980s. The American record label
\nShanachie<\/i> also saw her qualities and released a compilation of her songs on CD
\nin 1991 under the somewhat misplaced title “Soukous Siren”<\/i>. Most of
\nthe songs on the album were based on the mutuashi rhythm and had little to do
\nwith soukous. The label probably chose this title because Congolese artists
\nlike Kanda Bongo Man and Diblo Dibala with Loketo were popular in the US at
\nthat time with their up-tempo dance music among fans of the emerging world
\nmusic scene.<\/span><\/p>\n

\u266b Clip 1988: Kapinga \u2013 Tshala Muana 4:09<\/span><\/b><\/a><\/p>\n

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In the 90s, Tshala Muana continued to develop musically. In
\nthose years she wrote several songs in which she very successfully crossed Mutuashi with Salsa. The result of this can be heard on some tracks of the CD
\n‘Mutuashi<\/i>‘, released by the British Sterns label<\/i> in 1996. In 1998, she also
\ncollaborated on the third album from the ‘Sans Papiers’<\/i> series, released by
\nIbrahim Sylla<\/i>. On this album, which was arranged by Lokassa Ya Mbongo<\/i>, a
\nselection of artists collaborated with medleys that paid tribute to singers
\nsuch as Mbilia Bel, M’Pongo Love, Oumou Sangare and Nahawa Doumbia.<\/span><\/p>\n

\u266b Audio 1998: Sans Papiers \/ Tshala Muana \u2013 Nozy \u2013 5:51<\/span><\/b><\/a><\/div>\n

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\u266b Audio 1995: Mudiavi \u2013 4:55 <\/span><\/a>
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\u266b Audio 1994: Dezo Dezo \u2013 5:27<\/span><\/a><\/span>
<\/b><\/p>\n

When in 1997 Laurent D\u00e9sir\u00e9 Kabila took over from Mobutu Sese Seko as president of Congo, it also influenced Tshala Muana’s life and musical career. In those years Tshala Muana became more and more involved in Congolese politics. In 1999 she became a national delegate to the Transitional Parliament of the Constituent and Legislative Assembly. This was followed by three years in which not a single album of hers was released. Fortunately, she picked up where she left off in 2002 with the album ‘Dinanga<\/i>‘, which means ‘Love’. With the following album ‘Malu’<\/i>, her 21st, she won the prize for best female artist at the Kora 2003.<\/i> The album ‘Malu’ sold more than 500,000 copies. In 2006, she released a double album entitled ‘Mamu Nationale<\/i>‘ which means ‘The Mother of the Nation’.<\/span><\/p>\n

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In the years that followed, she continued to release albums
\non a regular basis. In 2018, for example, she released the album ‘Don de
\nDieu’<\/i> together with Mbilia Bel<\/i> – the other living female legend of Congolese
\nmusic.\u00a0\u00a0<\/span><\/p>\n

\u266b Clip 2017: Baba Nima \u2013 Tshala Muana 6:43<\/span><\/a><\/b>
<\/span><\/p>\n

\u266b Clip 2018: Don de Dieu \u2013 Tshala Muana ft. Mbilia Bel 6:58<\/span><\/a><\/span><\/b><\/p>\n\n\n\n\n
<\/a><\/td>\n<\/tr>\n
MBILIA BEL & TSHALA MUANA<\/span><\/b><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

After almost 45 years, in 2020 it seemed as if her musical
\ncareer had come to an end. After an emergency hospitalisation in June 2020,
\nreports swirled that ‘The Queen of Mutuashi’<\/i> had died.\u00a0 Shortly afterwards, however, she issued a
\nstatement saying that she was still alive and well. That she is indeed still at
\nthe centre of musical and political life was proved a few months later in
\nNovember when she released the song ‘Ingratitude’.<\/i> The lyrics of the
\nsong so offended President Tshikseki that she was arrested and kept in custody
\nfor several days. On 10 December 2022, Tshala Muana died in Kinshasa, at the age of 64.<\/span><\/p>\n

\u266b Clip 2020: Ingratitude 4:41<\/span><\/b><\/a><\/p>\n

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Lisabeth Tshala Muana Muidikay, also known as Tshala Muana, ‘The Queen of Mutuashi’ was born on 13 March 1958 in Lubumbashi. She was the second in a family of ten children. 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