Wyza, the Angolan singer from the Bakongo ethnic group presents his rhythm - Kilapanga - with modern arrangements in his 2 cd's. Sung entirely in the Kikongo language, it is a pleasant surprise for the public and a major international point of reference for the new music being produced in Angola.


Like many of his countrymen, Wyza, 25, fled the war in his home province and ended up in Luanda. It was 1984 when Wyza and his mother arrived hand-in-hand, carrying a tiny amount of hand luggage comprised of the scanty personal belongings they were able to carry under the harsh conditions of the flight to the nation’s capital. Even so, they also bore another kind of baggage in their minds and hearts, much lighter and easier to carry for strong backs and arms accustomed to working in “the bush,” but much greater and more valuable: they brought with them a feeling of love and longing for the land they left behind, as well as their memory of the music and religious customs of their people.
Young João Sildes Bunga, as he was then called, inherited his musicality from his mother, Elisa Bunga, who made and played the kissange, a traditional Angolan instrument. In Luanda, the boy worked as a sweeper. All alone in the streets, he learned to play an old guitar he got from a kindly man who had heard him sing. At home, he sang and wrote songs with Dona Elisa, his mother and the partner who encouraged his efforts.
He took many other menial jobs – all of them exhausting – the only ones available for people without schooling or marketable skills. But despite the daily grind of making a living, for years João Sildes would pick his guitar when he got home and write and rehearse his tunes – always singing in the Kikongo language.

Some time later, as a young man, he wrote “Mpasi,” a song whose Kikongo title translates as “Suffering,” which spontaneously captured the radio waves of Luanda. João Sildes Bunga became WYZA and musician and producer João Alexandre invited him to record a disc titled Kintsoma. But that album didn’t go the way it should have for two reasons: poor

recording quality and particularly the producer’s attempt to make him record other rhythms besides Kilapanga, which Wyza had played all his life.

That album didn’t lead to stardom, but Paulo Flores recognized Wyza’s talent and invited him to open for him at one of his shows. Since then, he has played an active part in his musical projects.

Despite these gigs, the struggle for survival in post-war Luanda, where thousands of displaced persons poured in every day, forced Wyza to keep looking for jobs that would pay the rent and put food on the table, especially since his family had grown and his first child was on the way.

That was when he was hired as an assistant on a project to convert a house in the Valódia district to adapt it to the needs of an audio and video producer – Maianga Produções. That job enabled him to gain his first technical knowledge of the structure and operations of a recording studio. Maianga’s diretors gave Wyza a new guitar and paid for a course where he learned to work with the Protools system and become a studio technician.

That investment paid off. Wyza started helping renowned producers hunt for new discs and got his first chance in a studio to feature in an important track on Paulo Flores’s CD Xé Povo.

The results of his work and recognition of Wyza’s talent sparked the record company’s interest and led to the decision to produce his first solo album, África Yaya. Wyza wrote all of the songs himself, his stylings and repertoire have been fully respected, and he sings in his mother tongue.


2005 África Yaya, a CD mastered in Brazil with 11 tracks combining music with African roots and elements of international contemporary pop music.

Set List

1. Kana Ya 2. Mbangala 3. Mawe 4. África 5. Kaxi 6. Ngudi 7. Vava Ngina 8. Miezi 9. Nzemba 10. Mpasi 11. Nganga Nvuala 12. África (Remix)