On March 24, 2020, the world lost Emmanuel N'Djoké Dibango, better known as Manu Dibango, due to Covid-19. Six years later, the legacy of the Cameroonian saxophonist continues to influence music worldwide, notably through his iconic title "Soul Makossa".
Born in Douala on December 12, 1933, Manu Dibango grew up in a stimulating musical environment. His mother, a seamstress and singing teacher, passed on her passion for music, while the family gramophone introduced him to French, American and Cuban sounds. At 15, he left for France to study, but music quickly took over.
From Paris to Brussels, he frequented Afro-Caribbean circles and jazz scenes. He joined Joseph Kabaselé's African Jazz orchestra, launching his international career. It was in 1972 that his career took on a global dimension with "Soul Makossa", initially the B-side of a 45 rpm record. The track was discovered by New York DJs and became a global anthem.
In 1982, Michael Jackson used the chorus of "Soul Makossa" in "Wanna Be Startin' Somethin'" without authorization. Dibango took legal action and reached an amicable agreement. Later, Rihanna also sampled the track. "Soul Makossa" is now considered one of the most sampled tracks in history.
Makossa, popularized by Dibango, has become a global cultural heritage, influencing genres such as zouk, coupé-décalé and afrobeat. Manu Dibango used his music to defend causes such as the fight against hunger and global warming.
His death sparked global emotion. Youssou N'Dour described him as "a pride for Cameroon and for Africa," while Angélique Kidjo hailed him as "the giant of African music". Streaming platforms regularly record a resurgence in listening to "Soul Makossa" on each anniversary.
Manu Dibango's work continues to inspire younger African generations, showing that it is possible to succeed without denying one's roots. His legacy reminds us that African music does not need external validation to conquer the world. His legal courage paved the way for a new generation of African artists. The question now is whether African cultural industries will be able to create the necessary structures to support future African talents.
