Joy in the Congo: A musical miracle

(CBS News) "Joy in the Congo" seems an unlikely -- even impossible -- title for a story from the Congo, considering the searing poverty and brutal civil war that have decimated that country. Yet in Kinshasa, the capital city, we found an unforgettable symphony orchestra -- 200 singers and instrumentalists defying the poverty, hardship, and struggles of life in the world's poorest country...and creating some of the most moving music we have ever heard. Follow Bob Simon to the Congo to hear the sounds and stories of the Kimbanguist Symphony Orchestra.

To learn more about the Kimbanguist Symphony Orchestra -- including how you can help -- click here.

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The following script is from "Joy in the Congo" which aired on April 8, 2012. Bob Simon is the correspondent. Clem Taylor and Magalie Laguerre, producers.

60 Minutes Overtime

Soaring songs from an orchestra you'll never forget »

Beauty has a way of turning up in places where you'd least expect it. We went to the Congo a few weeks ago, the poorest country in the world. Kinshasa, the capital, has a population of 10 million and almost nothing in the way of hope or peace. But there's a well-kept secret down there. Kinshasa has a symphony orchestra, the only one in Central Africa, the only all-black one in the world.

It's called the Kimbanguist Symphony Orchestra. We'd never heard of it. No one we called had ever heard of it. But when we got there we were surprised to find 200 musicians and vocalists, who've never played outside Kinshasa, or have been outside Kinshasa. We were even more surprised to find joy in the Congo. When we told the musicians they would be on 60 Minutes, they didn't know what we were talking about but, still, they invited us to a performance.

We caught up with them as they were preparing outside their concert hall, a rented warehouse. As curtain time neared, we had no idea what to expect. But maestro Armand Diangienda seemed confident and began the evening with bang.

The music, Carmina Burana, was written by German composer Carl Orff 75 years ago. Did he ever dream that it would be played in the Congo? It wouldn't have been if it hadn't been for Armand and a strange twist of fate. Armand was a commercial pilot until 20 years ago when his airline went bust. So, like ex-pilots often do, he decided to put together an orchestra. He was missing a few things.

Bob Simon: You had no musicians, you had no teachers, you had no instruments.

Armand Diangienda: Yes.

Bob Simon: And you had no one who knew how to read music?

Armand Diangienda: No, nobody. Nobody.

Armand's English is limited. He preferred speaking French, Congo's official language.

Bob Simon: When you started asking people if they wanted to be members of this orchestra, did they have any idea what you were talking about?

Translation for Armand Diangienda: In the beginning, he said, people made fun of us, saying here in the Congo classical music puts people to sleep.

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But Armand pressed on. He taught himself how to read music and play the piano, play the trombone, the guitar and the cello. He talked a few members of his church into joining him. They brought their friends which brought more problems.

Translation for Armand Diangienda: We only had five or six violins, he said, for the 12 people who wanted to learn how to play the violin.

Translation for Armand Diangienda: So they took turns, he said. One would play for 15 or 20 minutes at a time. That was very difficult.

But more instruments started coming in. Some were donated; others rescued from local thrift shops -- in various states of disrepair. Then it was up to Albert -- the orchestra's surgeon -- to heal them. He wasn't always gentle with his patients, but they survived. Armand told us that when a violin string broke in those early days, they used whatever they had at hand to fix it.

Bob Simon: You took the wire from a bicycle?

Armand Diangienda: Bicycle, yes.

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[lverga3]

this story not only brought tears to my eyes, joy to my heart and hope to my future. Music truly is the universal language and certainly shows that intelligent life does exist in this universe.

[adcity]

Since the 1980's there has been a growing interest in African music from amongst American and English record buyers. Musicians such as Youssou N'Dour from Senegal and Hugh Masekela now have an international reputation. With more upcoming young energetic artistes, Africa is destined for musical superiority
http://www.africanmusic24.com

[sarcastical]

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[DrTascoe]

Thank you for releasing this comment for the blog. Dr. Tascoe

[DrTascoe]

For the record: in 2000, following my first trip to Kinshasa, I ran into a 60-minute producer (female) when passing through Nairobi airport. Told her about the Kimbanguist Symphony Orchestra and sought her interest in the story. Offered that I had quality footage to share. Despite email exchanges, the interest was shelved by 60-minutes. I did not let that stop me. I returned to Kinshasa in April 2001, and brought with me the African American Conductor of the Oakland and Sacramento Symphony Orchestra, Maestro Michael Morgan, and his lead cellist, Joseph Hebert, who worked along side their African brothers and sisters refining technique and yet honoring the sacred nuance of their cultural interpretation of classical genre. As is often the case, concern by the American Embassy in DRC made it difficult to actively pursue travel visas for the symphony to travel to the US. Plans for a summer sojourn in 2001 was to include housing at the Holy Names College Dorm, Training at the Oakland Symphony, and a performance itinerary that included African American Church congregations and broader audiences in the bay area. The repertoire was to be inclusive of original African music which I had heard and recorded. I am personally pleased to see public recognition of this outstanding group. However, I am pained to witness the the final edit that gave far too much focus to a European man and woman and their role in the current state of the symphony. Armand Diangienda, whom I know well, and have hosted in my home here in California, is my "little brother". All footage, should have presented him as the conductor--including: Oh Happy Days, and Messiah. It is the indigenous strength and determination that is most inspirational here. What a magnificent gift that could have been for African American youth in particular, and others in general. It is still possible...BUT, cultural competence must rein supreme in the manner in which these brilliant Congolese musicians would be presented in the future. BTW, the classical genre pales next to their Kimbanguist repertoire!

[Strad440]

Our reaction to anything has much to do with the sum total of our individual life experiences. Consequently, there will be many reactions to broadcasts like this. We all stand on the shoulders of our ancestors. With regard to Africans and African Americans, this means a history that might include colonialism or slavery. It is grossly inaccurate to imply that most African Americans live in "endless bitterness". We have not had time for "endless bitterness". We've been too busy seeking truth, fighting discrimination and demanding justice. I dare say that you and your family enjoy many of the hard earned civil rights and freedoms that my family and I enjoy.



I do not understand how Africans can "celebrate the gains of colonialism". Like African Americans who endured slavery, I think we all have found ways to grow and develop, in spite of tremendous obstacles. It is part of human survival and the resilience of the human spirit. Fortunately, I have had a meaningful professional career. Since I am well into my autumn years, I have no reason to "envy" the people featured in this story or to "promote" myself. However, I do feel a responsibility to enlighten the reporter and viewers of "60 Minutes", since this orchestra was stated to be the "only all-Black orchestra in the world". Of course, that is not true.

[Mikeydrew]

Unfortunately, this segment has been classified as no good deed goes unpunished. While I agree there were some less than accurate portrayals of the modern Congo and its historically rich culture, I am no apologist for the brutality that occurs there as well. Regarding the music, which was the focus of the piece, I think it demonstrated a commitment most westerners are incapable of attaining, let alone imagine. Also, the quest to play western classical music contrary to cultural roots is not particular to this self-inspired group of musicians and their self-taught conductor. Will you make the same complaint of Japan? The choice to play western classical music was not imposed upon them by outside forces. Negative critiques of this segment fail to praise the accomplishment of these special musicians. I congratulate them and cast shame on you who detract from them.

[credibility2]

A European cultural form such as classical music to even exist in third world countries, including Africa, is rare. There are other forms of culture, however defined, that do exist in third world countries, including Africa. That being said, this segment was uplifting. I'd rather hear a classical orchestra play any where over any other type of musical form any day. I found it artful that you juxtaposed the real life of this nation among the musical culture of a symphonic orchestra with the truth of this nation, a back drop of debris and poverty. It was surreal. It clearly established how music transcends and how these people immersed themselves in this musical form to experience beauty and be transported elsewhere. I hope the segment generates donations for expanded cultural programs in the area. At least these people know that something exists beyond their own environment that can add meaning to their lives. Hopefully they'll use their talent and inspired lives to leave the area to better themselves and not live in such abject poverty.

[jazzy_mom]

I had to turn off the report when the woman said that "there is not culture available in Kinshasa." Did she mean there is no European culture therefore there is no culture that is seen as superior? What about the Congolese culture? Congo has some of the best African music and has the whole world tapping their foot and dancing. This is not culture? The scenes of Kinshasa had beautiful and colorful materials everywhere, this is not culture? And this is just modern culture, we haven't even touched ancient culture! Colonialism still exists.

[donpanther]

I agree and made a similar comment on an adjacent page and got jumped all over. The whole point was "Beethoven is the best culture in world history and we managed to bring it to poor black people in the Congo." Why? There are so many things wrong with this picture I don't know where to begin, but "cultural colonialism" pretty much describes the base of it. BTW, I really do believe Beethoven is the pinnacle of cultural achievement, and have several recordings and have been to several performances of his Ninth. I heard what the Congolese orchestra and choir did. It is, of course, very impolite of me to say what I thought, but I felt embarrassed for them.

[Strad440]

Dear Mr. Simon,



This letter is regarding your story about the Kimbanguist Symphony Orchestra in Central Africa. I am certain that it was intended to be complimentary to these deeply committed musicians. However, the manner in which the orchestra was introduced is insensitive to Black classical musicians worldwide. I quote, "Central Africa's Democratic Republic of Congo is about the last place one would expect to find a symphony orchestra." It is also not true that the Kimbanguist Symphony Orchestra is "...the only all-black orchestra in the world." http://www.cbsnews.com/8301-18560_162-57409952/music-in-the-heart-of-the-congo/?tag=contentMain;cbsCarousel



For several days prior to the broadcast, the CBS network previewed the segment, "...some of the most beautiful music in the world...coming from one of the most unlikely places..." Statements like that shake me to my core. They are similar to remarks that I often hear on the local news when a crime takes place in an upscale neighborhood. Residents, in shock, exclaim to reporters, "We just don't expect things like this to happen in our area." It is as if crime is "expected" and acceptable in specific neighborhoods. Crime should never be expected or acceptable in any neighborhood any more than classical music should only be expected among certain people in certain places.



To me, this implies that we should not "expect" to find a symphony orchestra of people of color, in a country ravaged by war and poverty. These are the very places that need the peace of mind that music can bring. I have often wondered how much more our nation would contribute to world peace if we dropped musical instruments, instead of bombs throughout various countries.



Since when is it "unlikely" to find musicians in Africa or anywhere else on the planet who might be inspired to play or listen to the music of Beethoven. There are elements of the human experience that permeate the music of Beethoven. Consequently, his music can touch people of any nationality or socio-economic background. It is the narrow mindset of such thinking that reinforces barriers that continue to exclude Black classical musicians from symphony orchestras throughout the world and especially in the United States. One only has to attend a symphony orchestra concert in any major American city and count the number of musicians from the African diaspora. We do exist, though we are not often recognized.



From 2007 - 2009 I had a young adult student at the Levine School of Music (Washington, DC) who was from Zambia. She was self-taught and played violin with a group that rehearsed at a village church. Her name is Palisa Muchimba. She later received a scholarship to study at Indiana University (South Bend). Since I am not aware of exactly where she was living at that time, I'm waiting to hear from her to learn if this is indeed the same group that was featured in your story. If so, small, small world. If not, it means that there is more than one such group in Africa and there could well be others. I find it "unlikely" to believe that there is only one group of Africans who have so recently discovered the joy of Beethoven!



Mr. Simon, thank you for a wonderful story about a noteworthy group of musicians. I commend them and their directors for their dedication and success. However, it was not necessary to present them as a novelty or spectacle. I suggest that you explore the achievements of other Black classical musicians--among them, the Soulful Symphony from the Baltimore-Washington, DC area, directed by Darren Atwater, the Harlem String Quartet and the Ritz Chamber Players.



It would be most enlightening to broadcast a documentary on Black classical musicians throughout history, especially of those here in the United States. The Symphony of the New World in New York (1960s), co-founded and directed by Kermit Moore is deserving of international attention. Equally deserving was the Detroit Community Symphony (1960s), directed by G. Anderson White and the Harlem Festival Orchestra (1980s) founded by Felix Farrar. These organizations welcomed the talents of classically trained musicians, especially those who were barred from mainstream institutions. Your research might begin with a visit to www.AfriClassical.com or by contacting the National Association of Negro Musicians.



Respectfully yours,



Phyllis M. Fleming, Violinist

Washington, DC

[yougogirl60]

@Phyllis M. Fleming:

THANK YOU for your enlightening information concerning black classical musicians. I have always had a curiousity about this group of musicians so now I know where to look so I can do research to satisfy that curiositry. Kudos to you!

[mamaV3]

@Phyllis M. Fleming:

I am 100% African and a first generation immigrant to the United States. Mr. Fleming, in my opinion, you sound quite envious of this group and willing to promote yourself. We Africans pride ourselves in being multi-talented and the ability to learn (and supersede) other people's cultures. We choose to celebrate the gains of colonialism rather than live in endless bitterness (very much unlike most African-Americans).

There is absolutely nothing wrong with this story. Growing up in Africa, I remember being a choir member and being proud of the ability to reproduce the Handel's HALLELUJAH chorus (amongst many others). Our highly talented Choir Master taught himself how to read music and did a great job in teaching others. Though we perfected the Western music, our cultural music was not threatened at all, we only had more varieties. I am yet to see (or hear of) any Westerner "perfectly" reproducing African music as this group did!

Indeed, this group DESERVE to be commended. Although there are many other excellent music groups all over Africa, there is nothing wrong in honoring those that are fortunate to be discovered.

I sure do feel offended when only the rural areas of Africa are shown on American TV and wrongly portrayed as perfect representation of the whole of Africa. But, in this particular documentary, I did not feel offended at all. Everything shown was all about the group and I believe theirs is a story of talent, dedication, and greatness.

As Africans, we believe in celebrating other people's accomplishments while keeping hope alive :) PEACE!