Ndombolo

Etymologically, "ndombolo" derives from Kikongo, meaning "to ask or solicit".^[24] The lexicologist Arizona M. Baongoli, specializing in Lingala, expounds that "ndombolo" encapsulates a genre of Congolese dance, literally meaning "gorilla" or "chimpanzee".^[24] The dance choreography involves hip gyrations, showcasing the posterior while executing forward and backward movements. Baongoli posits that this stylized dance mimics gorillas' and chimpanzees' gait, dance, or movements during courtship rituals.^[24]

The Parisian writer Milau K. Lutumba elucidates that this metaphorical construct emerged as a collective expression of the Congolese populace's hope for an end to the brutality, terror, injustice, and misery perpetuated during the reign of president Mobutu Sese Seko.^[25] By late 1996, Mobutu, gravely ill and largely absent from Zaire (now the DRC), faced a mounting rebellion led by Laurent-Désiré Kabila. The insurrection began with cross-border attacks from Rwanda on Hutu refugee camps in eastern Zaire and swiftly escalated into a broader military campaign by the Alliance des Forces Démocratiques pour la Libération du Congo.^[25] Despite Mobutu's efforts to reassert control, including appointing General Likulia Bolongo as prime minister and entrusting General Donatien Mahele Lieko Bokungu with national security, the regime ultimately crumbled, and by May 1997, Mobutu had fled into exile as Kabila's forces captured Kinshasa with minimal resistance.^[25] During this tumultuous period, musicians and street youth known as shegue played a crucial role in documenting and interpreting political events through atalaku.^[25] Among the most resonant terms to emerge from this context was ndombolo, with the atalaku serving as oral chroniclers of daily life and wartime experience, their chants, or cris, often carrying layered meanings.^[25] One notable chant from the period, Tala soldat aza kopepula la guerre ("Look at this soldier, he is blowing the war"), used a metaphorical phrase to describe soldiers who fled battle, capturing the widespread disillusionment within Mobutu's forces, many of whom deserted or sold their ammunition to Kabila's troops.^[25] The term ndombolo became a mocking descriptor of these soldiers' disorganized and unsteady retreat, likening their erratic gait to a clumsy dance of defeat.^[25] Ironically, this derisive association contrasted with ndombolo's later reappropriation as a symbol of cultural expression, and this image was also reinforced by performances featuring exaggerated movements mimicking limping or stumbling.^[25]

Another layer in ndombolo's etymology lies in visual caricature and collective memory, as Kabila was satirically described as a dwarf with broken legs and a peculiar gait, captured in the mocking lyrics "Makolo pete-pete, makolo buka-buka/Na démarche ya ndombolo" ("With weak and broken legs/With a walk like a dwarf man. Ndombolo".)^[25] Popularized by Zaïko Langa Langa, these lyrics paired the term ndombolo with imagery of physical awkwardness and ridicule, targeting Kabila's small stature and perceived ungainliness. This visual association was not accidental; it drew on cultural memories of pygmy performers and dancers who had historically been marginalized and exoticized in Congolese society.^[25] Pépé Kallé's 1980s band, Empire Bakuba, had previously incorporated dwarf dancers such as Emoro Penga, whose performances became emblematic of exaggerated, comic movements.^[25] These performances, often misunderstood, contributed to the popular conflation of pygmies and ndombolo-style dancing. As such, the term ndombolo came to embody a symbolic amalgam of comedic bodily expression, guerrilla cunning, and social commentary.^[25] Its metaphorical resonance extends to African folktales, where monkeys, known for their agility and mischievousness, frequently serve as symbols of wit and subversion. In this symbolic framework, Kabila, having waged a guerrilla war and emerged victorious against Mobutu, was likened to such a figure.^[25]

Ndombolo's dance style is characterized by convulsive and fast-paced hip movements with intricate steps, combining floating arm movements, whirling body rotations, and ape-like poses.^[7][8] Both male and female dancers perform a ritualized, circular swaying of the hips, fluidly moving from top to bottom and back.^{[7][8][26][27]} These rhythmic sways are often accentuated by sharp, quivering motions of the hips and buttocks. The choreography also integrates mimed gestures and stylized postures evocative of ape-like behaviors.^[8] Its visual expression embodies the accompanying music's rhythm.^[7][28][26]

Meanwhile, the musical elements unfold in a frenetic sébène, a cyclic repetition of a certain number of notes during the passage of two chords, with an emphasis on the rhythm guitar.^[8][29] This repetitive soundscape gains momentum as the tempo intensifies, with the guitarist incorporating gimmicks and caesuras to craft a distinctive sound.^[30] The role of the guitarist is shared with an atalaku, a singer who, from the music's outset, directs the percussion, galvanizes the audience, and augments assertive rhythms through impassioned MC harangue.^[30][8] The hypnotic sway of atalaku persists through powerful jolts of guitar and drums, emerging as the central pivot around which the rhythm revolves.^[30]

Koffi Olomide and Papa Wemba in 1988

Wenge Musica in 1985

Koffi Olomide and Wenge Musica played pivotal roles in the development of ndombolo music in the 1990s.

During the late 1960s and early 1970s, Zaïko Langa Langa revolutionized Congolese rumba by removing the horn section and wind instruments, long established as staples of earlier rumba traditions, and elevating the snare drum and electric guitars.^{[31][32][33][26]} Nelson George notes that this transformation resulted in a high-octane auditory quality that produced hits and dance crazes that gained popularity across Africa and major European cities, launching the careers of many homegrown artists, most notably world music singer Papa Wemba.^[26] However, the fiscal insolvency that befell Congolese record labels such as Parions-Congo, Parions Mondenge, International Don-Dass, and Molende Kwi Kwi following the collapse of the Mazadis, Sophinza S.P.R.L., and Izason recording labels, coupled with the transition from vinyl to compact discs, led to national phonographic production sinking into lethargy during the 1980s.^[34] Foreign labels specializing in African and Caribbean music took over, starting with Sonodisc and Sonima (France). However, this also gave the Democratic Republic of the Congo a substantive platform for the proliferation and cultivation of homegrown artists.^[34]

The genre's paternity is a subject of contentious debate, with some attributing it to the dancer and choreographer Radja Kula in 1995,^{[8][17][35][36]} and others crediting its foundational development to the musical collective Wenge Musica.^[18][19] Proponents of Kula argue that he played a pioneering role in shaping the genre through his group Station Japan, a dance and music ensemble based in Bandalungwa, Kinshasa.^[37][38][39] Often referred to as the "Man of 6,600 dance phases",^[39] Kula is credited with choreographing numerous popular dance routines, including ndombolo, Kitisisela ya mata, and Mandundu.^[40] Journalist Jordache Diala of La Prospérité has emphasized that many Kinshasa-based musical groups of the era borrowed his choreography without attribution.^[40]

JB Mpiana (left) and Werrason (right) are recognized for incorporating techniques such as twirling and expressive hand movements into ndombolo.

However, ndombolo's soundscape is widely attributed to Wenge Musica, and more specifically to its atalaku, Tutu Caludji,^{[8][37][41][42]} whose signature cry, "ndombolo", delivered with rhythmic intensity and emotive inflection, is considered the genre's defining vocal element.^[8][37][43] Cultural scholar Antoine Manda Tchebwa argues that the genre was "carried entirely by Tutu Caludji" and that his innovation "immediately conquered the whole of the Congo, then Africa between 1995 and 2000".^[8][44] Tchebwa further posits that the "ndombolo" cry is not merely an interjection, but a sonic trademark that encapsulates the cultural and musical ethos of a generation. This cry marked the beginning of what many regard as the golden age of Congolese music in the 1990s.^[8] While Caludji's authorship of the iconic cry is largely undisputed,^{[8][37][45][46]} the choreography of the ndombolo dance is widely seen as a collective creation. Its early visual representations are found in the music videos from Wenge Musica's 1996 Pentagone album, where the Dimba-Boma dancers laid the initial framework for its distinctive movements.^[37] Key figures such as Werrason and JB Mpiana are credited with introducing elements like twirling and expressive hand gestures. Additional refinements were contributed by Souzi Versace and Bouro Mpela during a pivotal rehearsal at La Samba Playa bar in Kinshasa in May 1995.^[37][47]

Tchebwa stresses that the genre represented the ascendancy of youthful innovation over the perceived stagnation of the preceding musical era. He describes the phenomenon as the youth being forced to make a "Cornelian choice between self-flagellation, chauvinism, and denial", ultimately affirming their dominance through the widespread popularity of ndombolo.^[8] Within a span of just a few years, the dance had transcended its choreographic origins to become a full-fledged musical genre.^[8]

Ndombolo quickly established itself as a popular African dance style across Africa and into the continent's diaspora in Belgium, France, the UK, Germany, Canada, and the United States.^{[48][26][49][50]} In January 1997, JB Mpiana's ndombolo-infused debut album, Feux de l'amour, became the first ndombolo album to attain a gold record, with over 150,000 copies sold. This success reverberated in Central Africa, East Africa, France, and Belgium, which in turn augmented ndombolo's visibility in francophone and anglophone countries.^[51][52][53] As Tchebwa noted, audiences no longer simply claimed to enjoy "Congolese music" but instead declared their love for "ndombolo".^[8]

Koffi Olomide's ndombolo album Loi, released in December 1997, also secured a gold record, with 25,000 copies sold in France and 105,000 internationally.^[54][55] The album's eponymous single became synonymous with ndombolo dance, making waves across Africa and France with a combination of the singer's deep baritone voice and sophisticated arrangements, blending old-school rumba and keyboard melodies and ending in a guitar climax.^[56][57][58] During this time, ndombolo made significant inroads into East Africa, particularly Kenya, where dance floors became overcrowded due to its surging popularity, and the "influx of waist-wriggling dancers" became a common sight.^[59] Congolese bands actively sought performance contracts from bar owners in Western Kenya, with ndombolo and the local genre benga gaining widespread traction in Kisumu and its neighboring towns. In Awendo, a variety of Congolese and local musicians, including Super Mazembe, Eden Musica, T.P. Bilenge, Bikassy Mandeko Bijos, and Banalola, graced the music scene.^[59] The Daily Nation reported that local youth in Kisumu were rapidly adopting the style, with groups like Orchestra Mass System, whose members embraced Congolese personas such as La Sape and excelled in the ndombolo dance style.^[59] Congolese bands like Chock Generation, Amite Musica, and Chachu La Musica, led by former Super Mazembe rhythm guitarist Loboko Bua Mangala, also had a notable presence.^[59]

On 29 August 1998, Olomide became the first Congolese artist to sell out the Olympia Hall in Paris.^[60] The concert, featuring ndombolo-infused tracks, is widely acknowledged as crucial in popularizing the genre.^[60][61] In December 1998, the Extra Musica ensemble from the Republic of the Congo released their fourth studio album, Etat-Major, marking the first ndombolo record to attain broad success in English-speaking African countries. The album's eponymous single is characterized by multi-thematic lyrics, catchy melodies, and distorted guitar riffs.^[62][63]

Awilo Longomba played a significant role in popularizing ndombolo music much across West Africa.^[64][65] He has characterized his music as "techno-soukouss", signifying a new variation of soukous that integrates elements of techno music into ndombolo, sometimes fused with electro, dance music, or Afro zouk.^[66] In 1998, Longomba released his second studio album, titled Coupé Bibamba. The eponymous track, featuring Jocelyne Béroard, achieved widespread success in Africa and Europe as well as within diaspora communities globally, and remains popular in Africa.^[67][68][69] The song's broad appeal led to renditions in various native languages, including Yoruba and Nigerian Pidgin.^[70][71] The album's success bolstered Longomba's visibility, culminating in three consecutive sold-out concerts at Lagos National Stadium.^{[68][72][73][74]} In 2003, Longomba became the first Congolese musician to perform at Nigeria's 22,000-seat Nnamdi Azikiwe Stadium in Enugu, followed by the 30,000-seat Jolly Nyame Stadium in Jalingo, making him the first Congolese artist to dominate Nigerian airwaves.^{[75][73][76][77]}

Général Defao was equally instrumental in expanding ndombolo's reach into East Africa, achieving success in 1998 with chart-topping hits such as "Copinage", "Sam Samitanga", "Agence courage", "Maintenance", "Sala Noki", and "Nakusema Nikutaka", featuring Suke Chile.^[78][79] That year, he performed in Mombasa, followed by appearances in Nairobi and Kisumu.^[78] Around the same period, Papa Wemba played at Nairobi's Carnivore restaurant, accompanied by his Viva La Musica ensemble.^[78]

In 1999, Wenge Musica Maison Mère debuted their ndombolo-infused album Solola Bien!, which achieved gold certification and experienced immediate success in Africa and France.^[80][81] The record's eponymous single, along with Ferré Gola's "Vita Imana", garnered significant popularity in France.^{[82][83][84][85]} Notably, Wenge Musica Maison Mère's track "Augustine" was recognized as one of the "five songs that made Congo dance" by the French pan-African weekly news magazine Jeune Afrique.^[86]

After taking power through the Alliance of Democratic Forces for the Liberation of Congo (AFDL), a rebel coalition backed by Rwanda, Uganda, Angola, and others, Laurent-Désiré Kabila allowed songs and dances celebrating his leadership to be performed as early as his inauguration, on 29 May 1997.^[87] In a pattern reminiscent of Mobutu Sese Seko's rule, state news broadcasts on Radio-Télévision nationale congolaise began, with so-called revolutionary music, praising Kabila and the AFDL.^[87] Ironically, the AFDL had claimed its mission was to dismantle the very legacy of the MPR's one-party rule. Nonetheless, it revived the practice of political animation, a propaganda mechanism that once deified Mobutu.^[87] Kabila's rise also prompted speculation and misinformation, with rumors of impending bans on miniskirts, women's pants, and love song on airwaves, as well as the closure of nightclubs.^[88][89] In 1998, Libération reported a perceptible decrease in the number of soukous orchestras in Kinshasa, along with strict regulation of public spaces.^[88] Only a few nightclubs, including le Circus, le Seguin, le Gin Fizz, l'Imprévu, l'Atmosphère, le Savanana, and le M16 remained accessible for public revelry.^[88]

By the early 2000s, numerous African television stations banned ndombolo due to its perceived "pornographic" nature, alleging that it compromised youth morality. In Cameroon, ndombolo faced prohibition for being deemed excessively erotic and obscene. Critics contended that Cameroon's imposition emanated from the belief that ndombolo encroached upon local music genres like makossa and bikutsi.^[90][91][92] Paradoxically, despite prohibitions, many artists continued to release records that dominated discos, bars, and clubs across Africa, characterized by their distinctive bass, tingling guitars, and soaring falsettos. In Europe, the sound became synonymous with African music, catapulting artists like Papa Wemba into high demand.^[93][94][95]

JB Mpiana (left), Werrason (center), and Koffi Olomide (right) emerged as the most prominent figures in the resurgence of ndombolo in the early 2000s and 2010s.

On 19 February 2000, Olomide made history as the first African solo artist as well as ndombolo artist to headline a sold-out performance at the Palais Omnisports de Paris-Bercy in Paris (now Accor Arena), selling 17,000 tickets solely through word-of-mouth promotion. His performance garnered the attention of ndombolo enthusiasts and set a precedent for subsequent Congolese musicians.^[96][97][98] According to a report by Libération, more than 5,000 people were unable to gain entry due to seating capacity constraints.^[97] On 16 September 2000, Wenge Musica Maison Mère followed suit, becoming the second African act to achieve a sold-out concert at the same venue.^{[99][100][101]} On 21 June 2001, Werrason released his debut album, titled Kibuisa Mpimpa (alternately known as Opération dragon).^{[102][103][104]} The record, a fusion of ndombolo and Congolese rumba, achieved immense popularity in Africa, earning Werrason two consecutive Kora Awards, for Best Male Artist of Africa and Best Male Artist of Central Africa, in the same year.^[105][106] On 22 September 2001, JB Mpiana became the third Congolese artist to perform at Paris-Bercy, captivating his audience with several ndombolo tracks.^[107][108] During this period, ndombolo gained significant traction in Paris, with Radio France Internationale reporting that it had garnered substantial attention beyond the "Afro community circles of Paris" in April 2003.^[109] The genre was noted to be "seducing the post-black-white-beur generation, in the name of an increasingly strong discourse on diversity".^[109] Concurrently, the twalatsa dance, loosely derived from ndombolo, began infiltrating the music industries of several Southern African nations.^[110] This dance, characterized by vigorous waist movements, signified a cultural shift, with local gospel artists integrating elements of Congolese rumba and ndombolo into their musical compositions.^[110]

In December 2003, Wenge Musica Maison Mère released a two-track maxi-single titled Tindika Lokito, which included the eponymous song, used in promotion for the beer brand Skol, along with "Allez À L'Ecole".^{[111][112][113]} "Tindika Lokito", composed by Werrason, boosted ndombolo's appeal in Central Africa, French-speaking regions of West Africa, East Africa, France, and Belgium. Its success led to Werrason receiving two consecutive Kora Awards, for Best Male African Artist and Best Central African Male.^[111][114] Following this, in December 2004, Koffi Olomide released the double album Monde Arabe, noted for its fusion of ndombolo and Congolese rumba with acoustic guitar interludes,^[115] which sparked a fashion trend known as "Sabot Monde Arabe" that featured round-toed slippers adorned with pearls, covering the phalanges and metatarsals of the foot.^[116][117]

By 2007, Faustin Linyekula emerged as the genre's most influential dancer and choreographer, instrumental in popularizing its dance form in France.^[118][119] In an online interview, Linyekula elucidated that the genre's dance informs his "choreographic process and cultural identity", drawing from the dynamism of ndombolo dance to explore the "carnal possibilities central to ndombolo's power and popularity".^[120] In July 2007, his Festival des mensonges was presented at the Festival d'Avignon, along with Dinozord: The Dialogue Series (2006), and later won the 2007 Principal Prince Claus Award.^[121][119] On 15 August 2009, Wenge Musica Maison Mère published the album Techno Malewa Sans Cesse volume 1, which also blended ndombolo and Congolese rumba.^[122][123] The album's hit single "Techno Malewa Mécanique", featuring atalakus Brigade Sarbati and Lobeso, gained substantial popularity across Africa and among the continent's diaspora in Belgium and France, leading to a performance at Zénith de Paris.^[124] The song was also awarded Best Sound at the 2014 Nollywood and African Film Critics Awards in the United States, five years after its debut.^[125] They followed this with Techno malewa suite et fin volume 1, released in August 2011, a double album predominantly blending Congolese rumba and ndombolo, which peaked at number two in the Congolese Hit Parade of the newspaper L'Avenir, after Bande Annonce by Jossart N'yoka Longo of Zaïko Langa Langa.^[126][127]

Fally Ipupa's "Original" became a hit in 2014, reigniting interest in the genre after prominent ndombolo artists migrated to Europe.^{[128][129][130][131][132][133]} By the end of 2014, Fabregas Le Métis Noir debuted his seven-track album, titled Anapipo, which achieved great success and garnered recognition throughout Africa. The album's standout ndombolo-infused single "Mascara" sparked the Ya Mado dance trend, leading to the #YaMadoChallenge on social media, where numerous online personalities emulated the dance and nominated others to participate.^[134][135] The song also brought attention to the African dashiki, a colorful patterned shirt that became colloquially known as "Ya Mado", in reference to the accompanying dance.^[136][137] However, the song faced a government ban on airplay in the Democratic Republic of the Congo, citing the Ya Mado dance as "indecent".^{[138][139][140]}

Koffi Olamide's ndombolo-inspired song "Selfie" (alternately known as "Ekoti té"), from his 2015 studio album 13ème Apôtre, rapidly became a viral sensation, amassing over a million views on YouTube within three weeks of its release.^[141][142] The accompanying hashtag #OpérationSelfie gained traction across various social media platforms and was endorsed by celebrities such as French singer Matt Pokora, Ivorian footballer Didier Drogba, and French-Congolese footballer Blaise Matuidi.^{[143][142][141]} Meanwhile, Félix Wazekwa's breakthrough single "Fimbu", steeped in ndombolo rhythms, gained immense popularity during the lead-up to the 2016 African Nations Championship and emerged as a celebratory anthem for the Congolese national football team during the 2017 Africa Cup of Nations, inspiring a synchronized dance among players to commemorate each goal scored.^{[144][145][146][147][148]}

In June 2018, BM released a remix of his single "Rosalina", featuring Awilo Longomba, which gave rise to the "#RosalinaChallenge" trend on TikTok, Instagram, and YouTube. This trend features exhilarating ndombolo motions synchronized with pulsating Congolese rhythms, encapsulating the precise articulation of the entire physical form, from limbs to waist.^{[149][150][151][152][153]} "Ecole", from Fally's November 2018 album, Control, introduced a new dance known as the "Ecole dance", synonymous with ndombolo dance moves, embraced by numerous dancers on social networks.^{[154][155][156]}

Emerging ndombolo artists like Innoss'B, Robinio Mundibu, Gaz Mawete, and the Paris-based Ya Levis Dalwear surfaced. In September 2019, Inoss'B released a remix of his song "Yope", featuring Tanzanian singer Diamond Platnumz, which became one of the most-viewed ndombolo songs on YouTube as well as the first song in East and Central Africa to surpass 150 Million views.^[157][158] The "Yope dance challenge" emerged on various social media platforms as a result of the remix, influencing Diamond Platnumz to incorporate dance sequences from it into his subsequent release, "Baba Lao".^[159] In June 2020, the song earned Innocent a nomination for Best New International Act at the BET Awards.^{[160][161][162][163][164]}

In November 2020, Diamond Platnumz released a successful crossover ndombolo-infused Swahili song, "Waah", featuring Koffi Olomide. It became the first Sub-Saharan African song to reach two million views on YouTube in less than 24 hours.^{[165][166][167]} In June 2021, Tanzanian singer Ali Kiba released his single "Ndombolo", featuring K2ga, Tommy Flavour, and Abdu Kiba, which was later used as a sample song for the ndombolo music genre on the Grammy Awards website.^[168]

On 24 September 2021, Congo-Brazzaville singer Roga Roga and Extra Musica released the single "Bokoko", from their eponymous EP.^{[169][170][171][172][173]} It quickly became a hit in Kinshasa, where it was played in various bars and clubs, and it gained prominence in French-speaking and Anglophone African regions.^{[174][175][176]} "Bokoko" became the first ndombolo hit to receive three consecutive awards, including the Kundé d'Or for Charismatic Leader of Central Africa in Burkina Faso, the Special Prize for selling African music worldwide at the 2021 Primud in Ivory Coast, and the Francophonie Prize at Lokumu, in the Democratic Republic of the Congo.^{[177][178][179]}

On 15 May 2022, French-Congolese singer Dadju released the ndombolo single "Ambassadeur", later certified gold, from his EP Cullinan, shortly after being appointed as a cultural ambassador for the Democratic Republic of the Congo.^{[180][181][182][183]} The song, featuring the Paris-based Congolese atalaku Brigade Sarbati, quickly became popular and amassed eleven million views on YouTube within a month.^[184][185]

On 16 December 2022, Congo-Brazzaville singer-songwriter Afara Tsena Fukuchima debuted his single "Afro Mbokalisation", which fuses elements of ndombolo, particularly the sebene instrumental section, with coupé-décalé, characterized by a predominance of piano and guitar riffs.^{[186][187][188]} "Afro Mbokalisation" accrued over three million views in a single month and catalyzed the popularization of the mopacho dance through TikTok dance challenges.^[189] This dance, originally conceived in 1990 by the Brazzaville artist Sixte Singha, was subsequently embraced by prominent artists from Congo-Kinshasa, such as Fally Ipupa, Tidiane Mario, and Gaz Mawete, as well as Ivorian singer Serge Beynaud.^[190][191]

On 6 October 2023, another Franco-Congolese singer, Jungeli, premiered his single "Petit Génie", which included guest appearances by Imen Es, Alonzo, Abou Debeing, and Lossa.^[192][193] The song rapidly gained popularity, partly due to early leaks and widespread sharing of excerpts on TikTok before its official release.^[194][195] "Petit Génie" was a commercial success in France, topping SNEP's Top Singles chart for 18 non-consecutive weeks.^[194] It became one of the year's most successful singles, approaching the record for the longest-running number-one hit held by Pharrell Williams' "Happy", which spent 22 non-consecutive weeks at the top.^[196] The song was also the fastest in France to achieve triple diamond certification that year, and it won the Best African or African-Inspired Music award at Les Flammes,^{[197][198][199][200]} along with a nomination for Best New International Artist at the BET Awards.^{[201][202][203]}

The influence of Congolese music on French hip-hop can be traced back to the migration waves of the 1960s and 1970s, during which a substantial number of Congolese nationals settled in France. This demographic shift played a pivotal role in spreading Congolese rhythms throughout the country.^[204] Beyond the scenes of Parisian clubs and underground parties, Congolese music thrived particularly in the multicultural suburbs, which emerged as crucibles of cultural exchange. In these dynamic neighborhoods, "African sounds mingled with European influences", producing a distinctive sound fusion.^[204] Music journalist Hugues Pascot observed that second-generation youth, in search of cultural identity, "found in Congolese rumba and ndombolo a way to live their heritage while incorporating modern influences".^[204] For many, music became a powerful medium of self-assertion and a means of "claiming a place in French society, sometimes in opposition to dominant cultural norms".^[204] Figures such as Koffi Olomidé, Papa Wemba, and Werrason were instrumental in this cultural convergence, as their albums "quickly crossed the boundaries of the Congolese community to gain traction in the clubs and on the radio stations of the capital, reaching an increasingly broad audience".^[204]

By the early 2000s, French rap, anchored in the realities of marginalized suburban youth, began to absorb external musical influences, notably from African diasporic cultures. Pioneering groups such as Nèg' Marrons incorporated Afro-Caribbean and Congolese elements in tracks like "Les Enfants du Soleil" and "Fiers d'être Nèg' Marrons", while the collective Bisso Na Bisso, composed largely of Franco-Congolese artists, explicitly fused Congolese rumba and ndombolo with rap.^{[204][205][56][206]} This trend deepened in subsequent decades, as artists including Maître Gims, Niska, and Youssoupha integrated Congolese cultural references into their work. Maître Gims' hit "Sapés comme jamais" paid tribute to the sartorial elegance of the Congolese La Sape movement, while Youssoupha's "Les disques de mon père" paid homage to his father, the prominent musician Tabu Ley Rochereau.^[204] In 2015, a new wave of rap, dubbed the Mwana Poto school, a reference to Europeans of Congolese descent, emerged online. Artists like Gradur and Niska gained traction by blending ndombolo dance moves with American-style street aesthetics and vocal interjections reminiscent of those heard in nganda bars (Congolese-style bar–restaurants) in Matonge.^[207]

A significant development in embedding ndombolo into French rap came with the emergence of Congolese-French rapper Naza, whose 2017 platinum-certified album Incroyable was built largely on ndombolo rhythms and featured tributes to Congolese collectives such as Wenge Musica, Extra Musica, Quartier Latin, and Viva La Musica.^{[208][209][210][204]} Tracks like "Sac à Dos", which includes a minute-long sebene sequence, became emblematic of this fusion; the song gained international exposure when members of the French national football team popularized it during the 2018 FIFA World Cup celebrations.^[204] Naza's success helped normalize the fusion of Congolese rhythms and French urban music, paving the way for subsequent hits like Dadju's "Mafuzzy Style" (2018), Belgian rapper Damso's "Même issue", and Maître Gims with "Na Lingui Yo".^{[56][211][212][213]}

Ndombolo has exerted a significant influence on the evolution of the Ivorian dance style known as coupé-décalé. Emerging in the early 2000s, coupé-décalé extensively draws from the Zouglou genre of Ivory Coast while also integrating elements of ndombolo, techno, and tribal house music.^{[214][215][216]} The influence of ndombolo is evident in the percussion-driven, repetitive rhythms and the emphasis on intricate hip and body movements that characterize coupé-décalé.^[208][217] Coupé-décalé essentially accelerates the speed of the ndombolo beat, particularly at the level of the bass drum and snare drum, creating a fast-paced cadence.^[208] Ethnomusicology professor Ty-Juana Taylor of the University of California posits that ndombolo laid the groundwork for the coupé-décalé dance,^[217] a perspective echoed by Ivorian researcher El Hadji Yaya Koné.^[218] Coupé-décalé artists frequently incorporate ndombolo-inspired dance steps and choreography into their performances, resulting in a fusion of the two styles.^[217]

This view is further supported by Ivorian music journalist Diarra Tiemoko of Soir Info, who notes the early use of pseudo-Lingala language in coupé-décalé songs during the genre's evolution.^[208][219] Tiemoko also highlights the influence of Congolese artists such as DJ Shega Mokonzi and Ronaldo R9 on Ivorian DJs, particularly in the early albums released in Ivory Coast.^[208] The incorporation of atalaku entertainers, whose role is to enhance songs and engage listeners in dancing, has been pivotal in coupé-décalé's early development.^{[220][219][221]} The concept of atalaku was first employed by the Congolese band Zaïko Langa Langa, pioneered by members Nono Monzuluku and Bébé Atalaku in the 1980s.^[220][222] In one of their early compositions featuring these animators, the chant "Atalaku! Tala! Atalaku mama, Zekete" (Look at me! Look! Look at me, mama! Zekete!) was repeated, commanding attention.^[223][222] Coupé-décalé musician Douk Saga's debut single, "Sagacité", is recognized for its incorporation of atalaku.^[220][224] Douk Saga, initially in Paris in the early 2000s, developed this novel mode of musical expression, combining La Sape with the percussion of soukous and ndombolo.^{[224][225][226]} Coupé-décalé rapidly gained international acclaim through DJs, spreading throughout West Africa and eventually reaching Central Africa.^[225] In an interview with Radio France Internationale, DJ Arafat, a renowned Ivorian artist, acknowledged the influence of atalaku on his style.^[227][228]

The Angolan music genre known as kuduro has been profoundly shaped by the influence of ndombolo, particularly through a dance form known as andamento ndombolo, literally "walking ndombolo", a signature movement that also functions as a flexible stylistic component in kuduro choreography.^[11] Drawing on ndombolo's defining characteristics, such as intricate, rapid footwork and continuous shifts in weight between the feet, the steps often mimic exaggerated walking patterns, with both legs swinging dramatically forward and backward in extended motions.^[11] This locomotive pattern echoes the semantic nuance of andamento, which translates to "walking" in Portuguese.^[11]

Kuduro assimilated several expressive traditions from ndombolo, with these adopted elements embodying the latter's improvisational spirit, particularly as cultivated by its early practitioners—urban male dancers and street youth known as shegue.^[11] Among the most prominent influences are mimetic and theatrical gestures, such as simian-like movements that held deep cultural resonance within Congolese performance.^[11] Ndombolo's choreography often features exaggerated animal-inspired poses, imitating chimpanzees or a monkey-like gait with exaggerated lameness, to display humor and physical skill while projecting confidence in social environments.^[11] Kuduro absorbed this visual language, weaving it into its dance style. Foundational ndombolo techniques like circular hip rotations, energetic leg articulations, and rhythmic hip and buttock movements were reimagined in kuduro, with andamento ndombolo emerging as a central motif.^[11]

Ndombolo's imprint on kuduro is particularly evident in the latter's emphasis on rapid body-weight transfers, flexible knee articulation, and intricate lateral leg motions. Kuduro dancers often appear to possess rubbery, unstable legs due to the incessant postural shifts and alternating foot placements.^[11] The upper body remains relatively static, with the arms extended away from the torso to highlight the contrast between a poised upper frame and frenzied leg movements.^[11]