We are celebrating the 30 years of Zouglou and it seems very important to me to write the history of Zouglou well so that it is correctly transmitted from generation to generation.
In two words, I say this. Those who created the dance steps are Opoku Nti, Waka, Jo Christie, Bakary Ouédraogo, better known as Spirit Bakri said Crocodile Dundee and others. This is well known to the general public now. This is what we can call the creators of the form of zouglou, the dance steps. But what is not really known to the general public, and which is very important to make known, is that the content, the philosophical basis of zouglou was created and dictated by FESCI. The spirit of zouglou, which speaks of combat, denouncing the evils of society, etc., it is the FESCI of 1990 which stuck this to the dance steps and the wôyô rhythm that the creators of the form, of the of dance. Without FESCI, there would not have been the spirit that went into zouglou. Anecdote. The first steps of zouglou were almost danced to a piece by Alice Sofa in 1990 when she came to perform in the Yop university campus and the FESCI said niet, we cannot dance zouglou on songs that do not fit into a certain canvas. This is how exclusivity was reserved for the Parents du Campus group with Bilé Didier. It is the FESCI which worked with this group for the messages and it is the FESCI which took care of the promotion of the album with the slogan to each student his cassette. All the FESCI tours and meetings were mini concerts of the Campus Parents. The promotion of zouglou was made by the Cultural Association for the Promotion of Zouglou (ACPZ), a parallel structure created by FESCI to promote zouglou outside university housing estates, to carry the fight for the cultural awakening of the Ivory Coast. The ACPZ was headed by Seaka Marcel, manager of the Campus Parents and there were as members delegated by FESCI Touré Moussa dit Zeguen, Apollos Dan Thé, Napoleon Yao among others. The ACPZ surveyed television and radio studios to promote Zouglou and we came across the providential man on television in the person of Wenceslas Aboké who hosted the program Tempo. He adopted the zouglou and gave it the necessary visibility and voila, the zouglou came out of its birthplace which is the university to join the people.
After the Campus Parents, we launched another group of C5 tear gas students with Azbill. Their first outing was a success, but Azbill’s death stalled the flight. We also tried reggae by launching another student, Deck Dobé. He was successful but the zouglou had the most and won.
Note that the origin of the musical rhythm with tam-tam comes from the “easy atmospheres” or “wôyô” during the OISSU competitions in high schools and colleges. The dance steps and the philosophy is what I talked about. So these are the origins of the typical rhythm, dance steps and philosophy of Zouglou.
The rest is known.