Petit-Pays Biography
Petit-Pays born Adolphe Claude ndalaah Moundi in Douala, Cameroon in 1967 is a Cameroonian musician. In 1996, he had sold over 50,000 cassettes in one week at the release of his Double Album Class F and Class M.Petit Pays has over 35 albums to his credit and is the Cameroonian Musician with the highest number of Songs ever.
He is also known as OMEGA, Rabba Rabbi, Turbo d’Afrique,Adonai,Le Neveu de Jesus,and recently his latest sobriquet of Effatta and famously Avocat defenseur des femmes (advocate for women). He is one of the most celebrated Cameroonian musicians of the late 1980s, 1990s and 2000s.He has a net worth of 3 billion FCFA and he is also into Construction and he has carried out projects .
Petit-Pays Age
Petit-Pays was Born on 5 June 1967, He is 51 yearsas of 2018.
Petit-Pays Career
The first project was the rural road from Bangem – Enyandong- Tchocte – Elah in Bangem Kupe Muanenguba Division. The second project was the road Fonven – Njoagwi – Njentse in Lebialem Division. And the Third project is the rural road Njima – Mokono- Dora Barombi in Ndian Division.
His music has evolved over the years adapting to contemporary African genres. He mixes native Cameroonian makossa with soukous, zouk, and salsa, leading to the portmanteau label of makozouk for some of his music.He launched his first album Haoussa in 1987, after working with makossa producers. In Haoussa, he says his father is Hausa and mother is Douala.
He has a band, known as Petit Pays et Les Sans Visa, which has seen several band members moving on to start their own solo careers over the 1990s and 2000s (decade). It includes artists like Jojo Moussio Samy Diko, Kaissa Pakito, Samantha Fok, Guy Manu, Njohreur, Xavier Lagaf.Mathematik,Sony 007 and Mony Eka and lots of other successful Makossa musicians. It is rumored that he gave the name Sans Visa to his band because he was deported from France for not having a visa.
He is the self crowned king of Makossa. In one of his songs, “Le Jour de ma Mort” (The Day I Die) from the album Class FM and other songs, he compares himself to Fela Kuti of Nigeria, Alpha Blondy of Côte d’Ivoire, Salif Keita of Mali and Youssou N’dour of Senegal. He always gives credit to legends like Francis Bebey, Eboa Lotin and Manu Dibango. He makes music with Pro Tools
He is known for his sometimes offensive dressing, controversial album covers and lyrics. He caused a stir in the mid-1990s (’94?) when he posed naked for his album cover King of Makossa (Love Class FM).
In 2015, he launched his reality Tv series titled ‘Ma vie de superstar’ where he lets his fans into his superstar lifestyle.
Influences
His influences are potentially his wife and his dog.[citation needed]
Petit-Pays Albums
- Haoussa
- King of Makossa (Love Class FM)
- Class F
- Le son d’amour
- Le CV de Petit-Pays
- Maestro
- Ça fait mal
Petit-Pays Photo
Petit-Pays
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Gaël Faye began his writing career with songs. Together with Edgar Sekloka he formed the hip-hop band, Milk Coffee and Sugar, whose first album was awarded critical acclaim in 2009. In 2013, he released his first solo album, ’Pili pili sur un croissant beurre’ (Chilli on a butter croissant, in English).
He still writes rap songs, but his topics have a more personal touch: we follow the young man’s journey through the City of London to the world of music, we stumble upon a nostalgia for his childhood in Burundi, and learn about the time his parents met: his French father, a ’butter croissant’ and his mother from Rwanda, ’Swahili pepper’.
In one of his songs, he addresses Burundi to express—rather like Césaire—both his love for his native land and his grief of the political anguish he suffered in the 1990s, at the same time as the whole region that was horribly bloodstained by the Rwandan genocide. This song is entitled “Tiny Country”: the same title that Gaël Faye chose to give to his first novel, published three years after the song, that also received critical and public acclaim
First and foremost, Petit Pays is a coming-of-age account that follows Gabriel, the child narrator, to the end of his childhood in Burundi. On the outside, everything appears to be very traditional for a coming-of-age story.
However, Gaël Faye’s novel revolves around a specific date, 7 April 1994, when the deaths of the presidents of Burundi and Rwanda triggered the Rwandan genocide and fueled the violence of the Burundian civil war. A childhood narrative or a testimony to one of the twentieth century’s most violent genocides, this novel lies at the crossroads of these two trends in contemporary African literature.
In the opening pages, Petit Pays presents the reader with an account of a happy childhood.
Faye showcases a ’childhood kingdom’ that was so dear to Senghor and which Camara Laye was able to illustrate in L’Enfant noir (The African Child, in English) the African landscape provides Gabriel with an educational arena for self-awareness and a certain relationship with the world. However, whilst Senghor’s or Laye’s ’childhood kingdoms’ are linked to a culture perceived as traditional; the young Gabriel was born of a French father who came to Africa out of curiosity and with a certain level of comfort and of a Rwandan mother who had taken refuge in Burundi after the violence of the 1970s in her native country.
Thus there are no traditions as such, only a history of violence. This violence is eventually narrowed down to colonial violence. This colonial past is embodied in the character of Jacques, an old Belgian guy who has spent his whole life in the Congo, the kind of figure that Maurice Delafosse would call a ’broussard’ (a bushman). Hierarchical relationships, resulting from colonization, are also discreetly reflected in the status of the Europeans in Bujumbura and in the way they view their domestic staff.
Thus the violence is also drawn from the class system: the young narrator takes us from districts full of Rwandan refugees to the more favoured districts of Bujumbura, via the country’s poor countryside. A tale of a stolen bicycle paradoxically pushes Gabriel to become both—unwillingly—the victim and the executioner. Ultimately, the violence is also social: quiet at first, then escalating, the conflict between Tutsis and Hutus resonates throughout the novel.
The childhood narrative makes it possible to emphasize the violence of history, as conveyed by Mongo Beti or Ngugi wa Thiong’o . Furthermore, Virginie Brinker highly favours the role of children in fiction when dealing with the Rwandan genocide: she sees it as a way of looking at events from a different angle, no longer strictly historical, but rather in terms of the traumatic repercussions. Indeed, little by little, in Gaël Faye’s novel, Gabriel’s happy childhood universe starts to crumble.
This shift initially begins at home with problems between his parents, and then turns political with the civil war in Burundi, which begins in 1993 followed by the Rwandan genocide that kicks off in April 1994.
At the same time, Petit Pays does not come anywhere close to the characteristic style of literary representations of Burundi as seen through the eyes of Juvénal Ngorwanubusa, nestled between images of peace and an omnipresence of violence in the social and political realm . Gaël Faye does not aim for the sensational but rather provides a more distanced perspective.
In a similar manner to Scholastique Mukasonga who dramatized the recent history of Rwanda from within a boarding high school in Notre-Dame-du-Nil or Gilbert Gatore who tells the story of a man confined to an island by gorillas in Le Passé Devant Soi (The Past Ahead), Gaël Faye does not represent genocide or civil war: as Faye himself says, “literature could never describe” such a horror. The narrator thus only sees snippets of the extreme violence in question. Each chapter is a new short story, leading up to the loss of innocence and unconsciousness of the storyteller. He first perceives this violence through what others tell him before gradually experiencing it himself.
The novel is all about experiences: Petit Pays is first and foremost a book about feelings. Through these feelings, the child narrator experiences the world, its beauty, the taste of its fruits, but also its pain. The sorrows of the world reach him through various anecdotes: snippets of random conversations in a nightclub, stories told to him by family members exiled from Rwanda, echoes of the world that reach the family holed up in their home. The young narrator has a sensitive outward approach; that comes from neither tradition nor a unified narrative.
This is why his understanding is complex and multifaceted; this is also why it is impossible for him to put himself on one side or the other because he is stuck in his own subjectivity and ever-changing view of the world. Through the complex “emotional sharing” of torn societies, and the “segmentation of time and space, the visible and invisible, of speech and noise that define both the political position and issues as a type of experience,” Gabriel keeps searching for a common ground: this is conveyed by the narrator, as he returns to the country he left to find some books and begin his story.
Rediscovering his childhood and feelings also takes on a political meaning: that of a quest for a common space of citizenship, a utopia situated between several ’countries’ forming a ’tiny country’ not bound by State or social borders. Gaël Faye thus questions the world as a true storyteller and his book captures the reader who, between shock and rapture, does not emerge unscathed: Petit Pays is undoubtedly a great novel.