Manfred Ebanda’s Voice, While Being Comforted In Villa Vienne’s, WINGS!

Cameroonian Musical and Vocal Legend-EBANDA MANFRED-His Performance With VILLA VIENNE, and the Feminine/Masculine Complementary Performance Of The Song, "Sister Muna!"

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Men and women are clearly the complements of each other. What one lacks, the other has. In this journey called, life, they are part of a safe space; a tapestry, where each one is cradled with the other. The very Being and comfort of each other rests within their movement, within each other. Of course, both parties are permitted to move through the confines of each other’s existence. No one is truly alone on this journey. That’s of course, if they choose to be. What is even more intrinsic is the power of music-of song!

We have heard those famed musical duos, between a man and woman singer. Depending on how the song is sang and where it is performed, we can interpret for ourselves, how they manage to ensure balance, within their particular culture. How closely they are aligned with each other, musically, determines if a song, has achieved a state of harmony for that moment, and within that particular area.

Then you have those unique songs, where the man plays the lead vocals, as his woman counterpart performs the background vocals. It is a supportive element; almost as if she is laying this vocal blanket, which permits him to glide through the notation of the song. Providing him with those musical vitamins, which creates the imagination of vocal glittering in a particular composition. Such is one of the most majestic attributes to any eloquence of musical artistry. Having that background support from a feminine persuasion, nourishes the masculine in his direction through the piece. In a sense, there is foundation. His footing no longer seems insecure. On the contrary, he has elevated his very Being to take flight. After all, it is the feminine, which permits a man to, fly. Depending on her level of adventure and holistic wisdom, a man has the power to achieve many impossibilities, so as long as he is able to acquire the nourishment, through her wings. And what are wings, should we ask? They are that feathery, silent, power of creativity, in partnership, with movement’s time. In the very eloquence of music, timing is everything!

Back to the waters of Cameroonian soils, we shall go. Another legend for another time. And Baby, the timing is so right! His name is none other than. . .

Ebanda Manfred; Edits By Lauren Kaye Clark

He is the legendary singer of the song, “Amio.” Not only is it a well-known, musical treasure on the African Continent, but it gained famed in Latina America and Europe. What was crafted and created by Ebanda Manfred, was made into an international sensation, by another Cameroonian, musical treasure, known as. . .Bebe Manga! The song “Amio” is a fascinating story, so close to his heart. His love for a young, unwed, teenage mother (who is forced to drop out of school), named Amie Essomba Brigitte, is a testament to the very naturalness of true love! Of course, she will not entertain his courtship until after her baby is born. Yet, again, love cannot wait. Therefore, “Amie, njika, bunya so mo, oa mo o ma dube no, na mba na tondi oa?” Translation: “Amie, when will you finally believe in my love?And the rest, as they say, is her/history! (Note: For more information on the song, you can click on the following link:

Ebanda Manfred, is known for being the pioneer of that famous song. Nevertheless, there are artistic collections to his name. Not only are they connected to his name, but her name is included, as well. There have been different recordings, as it concerns this feminine and masculine coupling. In addition, they have also established a unique bond, within this musical partnership. Do you remember that feminine essence, as it pertains to taking flight? Well, through this particular song, (and others like it) there is just that.

So, who is this aspect of feminine wings, which musically secures Ebanda Manfred, in his ability to take flight? Well, her name is VILLA VIENNE. Not only does she fly her musical wings, throughout the song, “Sister Muna,” but she does it graciously and with the complementary of that feminine touch. Listening to the song with foreign ears, you have to ask yourself that one question. Who is Sister Muna? Clearly, she must have an upbeat person. She must have a colorful person to match the song. And her very Being must obviously be a arena of rest and rejuvenation. Things don’t seem to be so bad when Sister Muna comes onto the scene. Come to think of it, life seems to be more exciting and creative, when Sister Muna makes her grand entrance. It permits that meditative question to ponder through, like a rhythm. How does the voice of Villa Vienne connect as that feminine complementary, who operates as the background support?

Delving closer into the song, the listener examines the tonality of Villa Vienne. The tonality of her sound is a high pitch quality. Such greatly contrasts to the sound of EBANDA MANFRED. Yet, it is the contrasts, which brings them together. It is their differing quality, that permits them to maintain vocal harmony, within the song. She is his wings, and together they glide through the telling of Sister Muna!

Throughout, “Sister Muna,” there is clearly a kind of harmony’s interchange. Ebanda Manfred keeps the melody going. Of course, the harmony is kept in tact by Villa Vienne. It is one interpretation of the Cameroonian masculine and feminine principles becoming, intertwined. One cannot operate without the other. For such a collaboration, if one of the principles decided to disappear, the song would feel, incomplete. The man would lose his wings, and the woman would wander without any point for nurture. A silent agreement has been made. One has his role. The other has her own. Both are imperative to each other. With this understanding, there is a level of gentility and compassion for this very coupling of musicianship.; Edits By Lauren Kaye Clark

Listening through foreign ears, one is also engulfed into another mystery. Such pertains to one of the Mother Tongues in the nation of Cameroon. Not truly understand what is being spoken through the language, peaks the interest, even more. How does this language contextualize the very movement, and rhythmic patterns, of “Sister Muna?” Clearly, the song is of Cameroon’s Makossa musical genre. What does this musical form, and its creativity, say about one group within Cameroonian society?

The language is one of intrigue, when navigating through different dynamics. Furthermore, there is something, which continues to maneuver through a unique component of the wellness factor

Na sibi nyon on na mba na sibe o njiba Na sibi nyon on na mba na sibe o njiba Na le o wanea oa suwa madiba ni menene penya penya

Mu be mba penya, mulema mu be mba penya Me be mba penya nd o kwasa nde mba mikasi Na timbi so buma mbembe oa na nen benyengen

Ba ni wei, ba nin weya mami oohh Mba na mene na mene oa beni oohh Ba ni wei ba nin weya mami oohh Mba na mene na mene oa beni oohh

Ba ni wei, ba nin weya mami oohh Mba na mene na mene oa beni oohh Ba ni wei, ba nin weya mami oohh Mba na mene na mene oa beni oohh

One cannot help but notice the, “oohhs” at the end of the lyrics. It is as if the coloring, design, and pattern from each line is being elongated, in order to be experienced; just a little longer. It feels that certain emotions cannot be expressed by words, but those sounds, conveying what one is feeling. Whatever emotion which has been played is solidified and reaffirmed, through the “oohhs.” In not being from Cameroon, one becomes curious, regarding what is being spoken. When writing about certain songs, of a foreign taste, a writer has to be very skilled in their sensory and sensitivity to the music. Imagination is key. Understanding the particular sensory of a song, and its connection to the Earth is, vital! Even if you don’t understand the words, there is still a magical component, in simply immersing oneself with the sensory. The vibrations. As a writer, you become meticulous in sensing the smallest details. When you don’t understand a particular language, for a song, you have to be just that keen. Working harder in training the ear, to identify such. Yes! It’s a lot of work. Nevertheless, it is well, worth it!; Edits By Lauren Kaye Clark

Through the versatility of this song, and with his feminine wings in the background, Manfred Ebanda takes flight. It feels restorative and, anew! A different ear for the harmony has been aroused, and her backdrop vocals continue to support the leading man. They are intertwined in an auspicious harmony. The outcome will be favorable! And once the song has finally ended, our beloved Ebanda Manfred will be able to fly together into Heaven, while being wrapped around in, their wings.

To hear more collaborative songs from Ebanda Manfred and Villa Vienne, you may click on the following link:; Edits By Lauren Kaye Clark
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