Marie Misamu
From Wikipedia, the free encyclopedia
November 16, 1974
- Singer
- songwriter
Marie Misamu | |
|---|---|
| Born | Marie Misamu Ngolo Ndombasi November 16, 1974 |
| Died | January 16, 2016 (aged 41)[1] |
| Genres | |
| Occupations |
|
| Instrument | Vocals |
| Years active | 1996–2016 |
| Labels |
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Marie Misamu (16 November 1974 – 16 January 2016), whose real name is Marie Misamu Ngolo Ndombasi, was a cantor, Congolese composer born November 16, 1974, in Kinshasa[2] and died January 16, 2016, still in the same place.[3]
Marie Misamu comes from a family of eight children, with her father being Gerard Ngolo Ndombasi and mother being Sophie Balekita. She starts singing at the age of 11. After school, her friends gather around her to listen to her sing. She will then develop the gospel style alongside Evangelist Debaba. She participates in the album of the brother Del (Musamaliya) then with Debaba himself and she releases the album Nazhirea, Who's that girl ?. In this album, is the song "Reconnaissance" that Marie Misamu known to the public of the DRC, Congo-Brazzaville and other countries. She married at the age of 19 and gave birth to her daughter Ruth in May 1994. It is with this album, Nazhirea, Who's that girl ? Marie Misamu begins to make a name and knows the success. Her voice, her repertoire, her style, her multiform talent make her known far beyond the borders of the Congo. The historian Sébastien Fath sees her as "a great pioneer of this new history of African Gospel that will one day write". In early 2016, she announces her retirement and her feeling of insecurity on BestAfrica Radio broadcast on B-One TV. She dies on January 16, 2016, of a cardiac malaise. In addition to music, she was a stylist, model maker, seamstress and decorator. With her talents, she participates in a film where she is in a relationship with Felix Wazekwa. Following his death comes the DRC debate on the difference between religious (Christian) music and non-religious music (world music) because Marie Misamu rubbed shoulders with everyone, and wondered about the desirability of tributes by artists who do not practice religious music.