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Album review
Manu Dibango
Dibango Goes Back To His Roots
Paris
10/05/2000 -
MANU DIBANGO - What happened was that for the first time in a very long time I was spoken to politely! When I was invited to come back - this was back in February of this year - I detected a major change in the way I was spoken to and, more importantly, a major change in people's mentalities. OK, so I've been showered with honours in my homeland recently (Ed - such as being named Cameroonian Artist of the Century, for instance!), but that's not what gives me the greatest pleasure right now. What counts for me is that for the first time in my life I feel those in high places are finally beginning to take music, and the incredible culture which lies behind it, seriously. You know, we used to be treated like clowns really - singers and musicians were never given any credit in this country, all that mattered was diplomas and jobs in the civil service. But it looks like people have finally understood that sport and music can also be major assets when it comes to developing this country.
Maybe Cameroon's victory in the African Nations' Cup helped point the way, I don't know. But I know that when it comes to music there's an immense amount of talent here that's not being used … apart from abroad! And it's this outside interest which has finally made people wake up and take a look at what's been going on under their nose. R/M - And what do you personally stand to gain from all this?
M.D. - Well, to start with, a bit of consideration! To get back to the point I was making earlier - in February of this year the chiefs of the Douala and the Yabassi, the two ethnic groups I belong to by birth, came up to Yaoundé to perform an initiation ceremony. The ceremony was performed according to time-honoured traditions, by the water and everything. And for me I felt that this brought things full circle. But what's really important for me right now is that I have a personal project I want to put into action in Cameroon - I'd like to set up an Arts Academy.
R/M - But surely what's interesting about African music is that it's not organised along academic lines?
M./D. - That's a very European way of looking at things! In that case, what are successful Cameroonian artists like Richard Bona, Princesse Erika and Les Nubians doing abroad? I'll tell you, they're there because they want to take advantage of the infrastructure you have, they want to be where they can learn music. Talent's not enough these days, you know. I often regret the fact I was never able to really work on my instrument and develop my music knowledge. But I never had the time - I had to get straight out there and work while I was still very young. As for the musicians who are working in Cameroon these days - musicians I believe have the potential to become really excellent - there's nowhere for them to go and learn music. And it's pretty much the same story when it comes to dancers, artists and writers too. That's why I believe it's absolutely essential to create an Arts Academy. R/M – And have you received any firm promises of support for your project?
M.D. – Well, it's early days yet. You know, things happen slowly in Africa … But this time round I do feel the message had got across. I'm hopeful - and all the more so as I'm planning to get French partners like the AFAA and the Ministry of Culture involved. R/M – Things might be a bit easier if you were a government minister…
M.D. – No thanks, that doesn't interest me in the least! You know what they say, each to his own … I've made my life now and I'm very much at peace with myself as I am. I'm like the tortoise carrying my house around on my back - one day I'm in Paris, the next it's Douala and the day after that I'm on somewhere else! R/M – And what about your views on pan-Africanism - are they still the same?
M.D. – Yes, but I'm realistic these days. I believe we should get things sorted out on a regional level first. In a country as diverse as Cameroon, how do you expect people to get to know one other when there aren't any roads? If you build the roads, then the Bamiléké will get to meet the Béti and so on and so forth. The way I see it, pan-Africanism will make a great stride forwards the day there's a decent road from Dakar to the Cape! After that, we'll just have to see…
R/M – Let's get back to Cameroonian musicians for a moment. I think it's fair to say that right now there are a host of technically-gifted Cameroonian musicians out there - bass-players, drummers, guitarists and so on - but there aren't really any solo stars. There's no Cameroonian equivalent of Youssou N'Dour or Koffi Olomidé, is there?
M.D. - Well, you're forgetting Richard Bona - he's made quite a name for himself! But it's true, Bona's a bit of an exception really, and I suppose I'd have to agree he's better known as a bass-player than as a solo artist. I guess it's fair to say there are no real leaders out there right now. But that's why I believe that an Arts Academy could really help promote new talent - as long as it hooked up with what's going on in Garoua and Bafoussam as well as Yaoundé and Douala! 
R/M - Somehow with all these questions we haven't actually got round to talking about your new album …
M.D. - Well, I guess people will just have to go and listen to it instead!
Jean-Jacques Dufayet
Translation : Julie Street
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