Editing Soukous (section)

=== Formation and paternity debate ===
[[File:Orchestra OK Jazz à Léopoldville de 1955 à 1965.jpg|left|thumb|214x214px|Drummer of [[TPOK Jazz]] in Léopoldville]]Etymologically, the term ''soukous'', derived from the French verb ''secouer'', denoting "to shake," initially described a person who moved jerkily but evolved into a dance style synonymous with vitality and cadence.<ref name=":7">{{Cite book |last=Stewart |first=Gary |url=https://books.google.com/books?id=7VmcEAAAQBAJ&dq=Bavon+and+Bholen's+N%C3%A9gro+Succ%C3%A8s+is+'le+premier+au+marathon+du+soucous,+Etoile+du+Congo+announced+in+1968.&pg=PT194 |title=Rumba on the River: A History of the Popular Music of the Two Congos |date=5 May 2020 |publisher=Verso Books |isbn=978-1-78960-911-0 |location=Brooklyn, New York, New York State, United States |language=en}}</ref> The term ''secousse'' evolved over time, transitioning to ''soucousses'' and eventually ''soucous'' in [[Colloquialism|colloquial language]] and the media, until the "''c''" fell out of favor, replaced by a "''k''".<ref name=":7" />

During the early 1960s, a surge of young Congolese musicians sought to speed up the slow tempo of Congolese rumba, which precipitated the emergence of soukous. Artists began incorporating faster rhythms, and prominent guitar improvisation, often characterized by high-pitched, fast-paced lines imbued with more heightened African [[Motif (music)|motif]]. The drummer shifts to the high-octane cadence, wherein the [[Clave (rhythm)|clave rhythm]] shifts to the [[snare drum]], singers engage in rhythmic chanting (''[[animation]]''), and lead guitars take center stage.<ref name=":8">{{cite news |last1=AP |date=1989 |title=Franco, 51, Zairian Band Leader And Creator of the Soukous Style |url=https://www.nytimes.com/1989/10/17/obituaries/franco-51-zairian-band-leader-and-creator-of-the-soukous-style.html |access-date=18 November 2022 |work=The New York Times}}</ref><ref name=":0" /><ref name=":13">{{Cite book |last1=Appiah |first1=Anthony |url=https://books.google.com/books?id=A0XNvklcqbwC |title=Encyclopedia of Africa |last2=Gates (Jr.) |first2=Henry Louis |publisher=Oxford University Press |year=2010 |isbn=978-0-19-533770-9 |location=Oxford, United Kingdom |pages=407 |language=en}}</ref><ref name=":6">{{Cite web |last= |first= |date=15 August 2018 |title=The mixed legacy of DRC musician Franco |url=https://newafricanmagazine.com/17337/ |access-date=26 August 2023 |website=[[New African]] |language=en-GB}}</ref>
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| footer            = [[Franco Luambo]] (left) and [[Nico Kasanda|Dr. Nico Kasanda]] (right) are often credited as pioneers of soukous
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The origins of soukous are a matter of dispute, with divergent attributions and viewpoints. Clément Ossinondé, a Congolese musicologist specializing in Congolese music, accredits [[Franco Luambo]] and [[TPOK Jazz]] with pioneering soukous, citing his ''odemba''-inspired style, known for its fast tempo.<ref name=":22">{{Cite web |last=Ossinondé |first=Clément |date=2 March 2020 |title=Voyage Musical : l'aller et retour de la rumba |trans-title=Musical Journey: the back and forth of the rumba |url=https://www.congopage.com/Voyage-musical-l-aller-et-retour-de-la-rumba |access-date=28 October 2023 |website=Congopage.com |language=fr-FR}}</ref> Franco is also recognized for revolutionizing the genre's themes by infusing significant [[Social issue|social]] and [[Political issue|political]] issues into the lyrics, making the music a platform for [[social consciousness]].<ref name=":8" /><ref name=":0" /><ref name=":13" /><ref name=":6" /> Conversely, British writer Gary Stewart suggests that soukous evolved into both a music genre and dance style in Brazzaville, stemming from the establishment of the Super Band in 1964 by up-and-coming guitarist Jacques Kimbembe.<ref name=":14">{{Cite book |last=Stewart |first=Gary |url=https://books.google.com/books?id=7VmcEAAAQBAJ&dq=Orchestre+Sinza+introduced+the+soukous+to+Brazzaville+bar+patrons+in+1966+but+lacked+the+connections&pg=PT195 |title=Rumba on the River: A History of the Popular Music of the Two Congos |date=5 May 2020 |publisher=Verso Books |isbn=978-1-78960-911-0 |location=Brooklyn, New York, New York State, United States |language=en}}</ref><ref>{{Cite web |last=Bemba |first=Audifax |date=14 October 2023 |title=Orchestre Sinza "Kotoko" de Brazzaville |trans-title=Sinza "Kotoko" Orchestra of Brazzaville |url=https://www.congopage.com/orchestre-sinza-kotoko-de-brazzaville |access-date=31 August 2024 |website=Congopage |language=fr}}</ref> The ensemble, later rebranded as Sinza, meaning "root stock," introduced soukous to Brazzaville's nightlife in 1966, supplanting the traditional boucher style of Les Bantous de la Capitale.<ref name=":14" /> Stewart further notes that Orchestre Sinza innovated soukous in 1968 with a new wrinkle called ''mossaka'', and soon thereafter, [[Nico Kasanda]] introduced the kiri-kiri, which was based in part on the "jerk" from [[Rock music|Western rock]].<ref name=":14" /> Meanwhile, Les Bantous de la Capitale developed a fusion with Pablito's song "Masuwa," billed as a ''soucous''-''kiri-kiri''. The kiri-kiri, which, according to Stewart, became a defining piece of the genre as exemplified by Nico's "Kiri-Kiri Mabina Ya Sika," telling the story of a man's quest through Kinshasa's streets to reunite with his partner for a kiri-kiri session at Fiesta Sukisa, gaining widespread acclaim.<ref name=":14" /> Established artists rapidly embraced the dance and disseminated it across the continent.<ref name=":28"/>