ekottomagazine
PANAFRICANO
Baron Ya Buk-lu ft. Manu Sinza
TABLE OF CONTENTS
Baron Ya Buk-Lu
We are still here
Baron Ya Buk-Lu
Baron's rhythm
APCA
The future of Bubi
Tapána Hméra
New single by Mastho Ribocho, literary work Anthology of Equatorial Guinea Music by Barón Ya Búk-Lu, Löbëla by Justo Bolekia Boleká, Vövíla (African palm tree) by Mario Mulé Ribala.
Ë ilám by Carlos Bolete Lobete
Ë KOTTÒ, is a magazine of the cultural field in all its disciplines.
We are committed to bringing culture closer to our readers. Our goal is to give visibility to sectors that lack this opportunity of presence in large media platforms.
Our publications will be monthly and we will focus on four basic sections and four complementary ones.
INFORMATION, INTERVIEWS, ACTIVITY AND PROMOTION, and SOKKÒ, ËTYÖ LAÖTYA, OPINION y EDITORIAL
EDITORIAL
A general story on a specific theme of each edition.
INFORMATION: Its content will be based on knowing the path of our guests. That is, what you could call their biography.
2. INTERVIEW. Focused on the professional field.
3. ACTIVITY: Focused on our guest's current affairs.
4. PROMOTION: Publicize everything related to the works of our guest or in its case what it believes necessary to promote related to his or her professional work.
OPINION
It is a section for sociocultural opinion articles.
SOKKÒ
It is a section with a variety of socio-cultural news.
POET'S BLOG
A section for poetry and poems.
ËTYÖ LAÖTYA
It is a section of learning and knowledge about the Bóbë-Bubi identity in its different manifestations.
With the magazine Ë KOTTÓ, we will bring culture a little closer to our homes.
Editorial
WE ARE STILL HERE.
We have raised the shutters to continue being present in this new season, enjoying, publishing, and creating culture.
Distance was no obstacle to the excitement of a month of August filled with teaching and learning a mother tongue in different cultural centers, taught by Ëbóbë-Ëvóvë, as well as an extraordinary exhibition by the artist Bësákkò biá Rihólè at the French cultural center in Malabo. And, from the pages of Ëkottomagazine, we celebrate in our September issue an all-rounder in the world of art and literature by presenting a musical anthology. We continue to work to bring culture into our readers' homes, which is what we are most passionate about.
Be sure to follow us and read us. We are working to grow further, incorporating more content and expanding our team of contributors who will offer all their knowledge to broaden our content and make it more interesting and enriching every day.
Story
BARON YA BUK-LU
Biography
Nve Ngomo Eyui is the son of Ebolo Ngomo Ona, who was chief of the Esakunan tribe of Mikomiseng (Kie Ntem) of the Fang ethnic group in Equatorial Guinea. His musical vocation comes from his childhood, in his family environment.
In addition to attending and participating in traditional ceremonies, rituals, and dances, at the age of fourteen he formed his first musical group, “M'andjáng” marimba or stick against stick. Two years later, he joined the group “KURYEBE” and “OBÓ^O KURA,” with which he toured throughout Guinea, recorded on radio and TV, and was chosen as the best new group in the province of Kie Ntem (Rep. G.E).
In 1989, after touring several African countries, he decided to move to Europe to pursue new horizons and began performing throughout Spain at venues and world music festivals in cities such as Zaragoza, Algeciras, Ibiza, Burgos, etc. They are also known for collaborating with numerous charity events, such as: Youth Against Intolerance (Galileo Galilei in Madrid), Fedora – Colegio Mayor San Juan Evangelista (Madrid), INTERMÓN Festival, -(Juan Carlos I Park), NGO Solidarios para el Desarrollo - El Escorial (Madrid), Festival METRONOMO, and the inaugurations of the PRINCIPE PIO, ARGANDA DEL REY, and Mar de CRISTAL metro stations, etc. (2001). He also performed at prestigious venues such as Caracol and Clamores and went on an extensive tour of the United Kingdom (Manchester, Liverpool, and Leeds, March 2002), organized by the Cervantes Institute. AFRICA; CCEB-CCEM 2006 (Spanish Cultural Centers in Bata and [[Spanish Cultural Center in Malabo. FIMIM (International Festival of Ibero-American Music in Madrid. Organized by the Getafe-Madrid Association for UNESCO 2023 He sang the song “Meyon Zagán” (Come, peoples) at the IV International Conference for World Day of African and Afro-descendant Culture. Definitive Decolonization, Strong Democracies, and Ethical Politicians. Migration. Care, Regularization, and Social Justice. Consequences of Climate Change in Africa. Congress of Deputies. (Clara Campoamor Hall) January 24, 2024 Baron Ya Búk-lu participated in the Latina district on the stage of the 17th Multilatina Encounter between Cultures. This event sought to promote cultural exchange and coexistence through a varied artistic program that included music, dance, theater, and other cultural expressions from around the world. C.C. Paco de Lucía. Madrid 10/04/2024
His second album, MEDULÚ, was named “best world music album” of 1998 in Spain by Todas Las Novedades magazine.
Other knowledge: 2021-Development of Percussion Workshops and Introduction to African Music in various educational centers in Móstoles: IES Antonio Gala, ACE Malasaña, in 1st and 2nd year ESO courses at IES Gabriel Cisneros.ro Duque (Leganés) In collaboration with S.G.A.E and Fundación Secretari 2024-2025. Development of percussion workshops at IES Antonio Machado (Leganés). In collaboration with SGAE and NGO RUMI.
Styles
As a great expert in African music and a connoisseur of its culture, he is a middle ground between traditional Bantu music (Bikut-sí + variants, African Rumba, etc.) and various influences from around the world (reggae, funk, hip-hop, etc.). This is where this artist's creations are situated, to produce what the artist calls “rock'n búk-lu.”
He sings about life and its everyday problems, avoiding judgment above all else.
Discography
• 1996 BB project – Ngomo Line productions
• 1998 Medulú – Belvedere discos
• 2001 Actitúd Bantú – Ngomo line- Kelson Music
• 2003 Me no entiende self… A.P.C.A. / Ngomo Line productions
• 2005 Dumu aye`ku apca/Ngomo Line prod
• 2006 FANGLOSOFIA-APCA/Ngomo line prod
• 2009 Afrobeatziako – A.P.C.A / NGOMO Line productions
• 2011 NEW WORLD, NEW LIFE-NGOMOLINE prod/A.P.C.A
• 2011 single C.C.CAN2012 –NGOMOLINE prods/APCA
• 2013 AKAMAYONG – NGOMOLINE productions/APCA
• 2015 AYANG! – A.P.C.A/NGOMOLINE prods
• 2016-BUKLANDO.A.P.C.A/NGOMO LINE prods
• 2018-KPWANDÁMA. A.P.C.A/NGOMOLINE prods
• 2019-LIBERTAD. A.P.C.A/NGOMOLINE prods
• 2020-PANAFRICANO (EP) Dakarai Records/Nomoline Prods
• 2020-PLANdemia 2020 (single)-Ngomoline Prod
• 2022-MÚSICA NOSTRA (Ngomoline Prods-DAKARAI Records)
• 2023-EYANGA (EP). (Ngomolineprods/Apca)
• 2025-VENDEHUMOS (EP). (Ngomoline Prods)
Collaborations
• Africanos en Madrid (Bell Music)
• Mbayah (Nube Negra)
• Jotamayuscula (No tengo nada) Zona bruta
• El Chojin (Solo para adultos, Olong 100%) Boa Music/Ngomo line Prod
• Frank T, (Mama afree-k)
Actor
Film
• 2017-Actor in the short film UD ESTA EN MADRID. Director Tony ROMERO
• 2014-Actor and soundtrack. Documentary film-GENTE DE PELO DURO. Directors Tony Romero & Fátima OSIÁ
• 2008-Documentary film-“SOY MUSICA, SOY RAÍZ”-Director Tony Romero
• 2003 - Actor-Co-author with El Chojin of the song “La ciudad te esta hablando” for the soundtrack of the film TANGER, starring Antonio Resines, directed by Juan Madrid, produced by Antonio Guillén Rey
• 1999 - Voice actor (voice of Papa Wemba) in the French film LE COMBATE DES FIERES.
• 1996 - EN LA PUTA CALLE, Spanish-French production, Director Enrique Gabriel.
• 1991 - KRAPATCHOUCK, Director Enrique Gabriel, actress Ángela Molína.
Theater
• 1992 - Actor in the play FIESTA BARROCA, directed by Miguel Narros, alongside José Coronado, Willy Montesinos, and others.
TV
• 1990 - Presenter alongside Susana Hernández and Guillermo Summers on the program: DOS CADENAS PARA TI (TVE1).
Literature
• 2001 - Co-author of the guidebook VIVIR AFRICA EN ESPAÑA (Living Africa in Spain), País Aguilar (Ediciones Santillana).
• 2005 – EL ACONTECIMIENTO (The Event) (A.P.C.A / Mandala ediciones)
• 2012 – Mikaná ya midjoán, nkóbo fang “Proverbs, sayings, and expressions in the Fang language.” Edit CEIBA
• 2016 - ZILIYANG!. A.P.C.A/Mandala ediciones
• 2017 Bidje ndúan Sial Pigmagniol.
• 2021-Anthology of the Music of Equatorial Guinea. Diwan Mayrit.
• 2023-Eyanghá. Diwan Mayrit
Interview
BARON YA BUK-LU
How are you doing?
Thank you for accepting Ekottomagazine's invitation.
1. Beyond your own successes, which artists or musical movements have been the biggest influence on your style, and how are they reflected in your current music?
Good morning from Madrid, Spain. First, I would like to thank you for the honor and respect you have shown me by choosing me and giving me this great opportunity to address my fans and our people, who are always ready to support us.
As for the question, my music has always been surrounded by a traditional environment. I have always liked the fusion between the traditional and the cutting edge. This is always reflected in my songs. I am a pioneer in Spain in fusing hip-hop with African music, with artists such as El Chojin, Frank T, Kultama, Miss Yuma, Naka B, Negro B, JotaMayúscula, etc. I have also worked with American jazz artists such as saxophonist Jacques Schwarz-Bart and Andrés Peña Olaegui, the founding guitarist of the legendary Spanish group of the 70s, among others. All of this is based on traditional music from Equatorial Guinea, such as ivangá, olong, mokom, ozila, etc.
2. How would you describe the evolution of your music over the years and what factors have influenced these changes in sound?
That's a bit of a complicated question. I simply believe that I have made the right choices. It hasn't been a bed of roses, but we're still here. I was born for difficult things. Lately, I've been returning to the past. That is, to my roots. I use very percussive bases and instruments and sounds that are as traditional as possible. We've always said that Africa is the future, and that future is already here.
3. What challenges have you faced as a veteran musician in today's industry, and how do you stay inspired to keep creating?
Good question. I always knew that nothing was going to be handed to me on a silver platter. I had to be serious and work hard. In 1996, I had to create my own record label, Ngomoline Productions, and a year later, a cultural association, APCA (Association for the Promotion of African Culture), in order to advise and promote our products and projects. I have a recording studio and a cultural festival called Africanos en Leganés, which has been held five times despite the difficulties, but we're still going strong, while avoiding expecting miracles.
4. Is there a recurring message or theme that Barón Ya Búk-Lu seeks to convey through his music, and how has that message changed over time?
My songs always carry messages of hope, peace, justice, equal rights, love, and the improvement of global systems and my home country of Equatorial Guinea in particular. If the world is doing well, we will all be doing well. There is a saying that goes: Evil always comes back. If you spit upwards, it will fall back on your face.
5. Looking ahead, what projects or collaborations are you most excited about for the future, and are there any new sounds or styles you would like to explore?
I have already completed four songs for a project that I plan to launch at the end of this year. I have been fortunate to work with some unique artists. For example, I introduced an ancient instrument called the ngoma (traditional harp) played by rapper Jay Nvock, which is mainly used in Bwiti rituals. This instrument had been banned in Central Africa for centuries by the colonists. I also featured the sound of the tama played by percussionist Doudou Ngom. They are great and excellent artists. Lately, I've been more focused on sounds. My style has been well defined for a long time.
6. At Ekottomagazine.com, we can confirm that you were born to be a tireless worker, but where do you find the time and energy to build up such extraordinary cultural knowledge?
Thank you for the question. An artist should not wait to be called upon; you can always find or seek out moments of solitude to think. I am a person who is not afraid of solitude or silence. On the contrary, it inspires me. I try to read, and sometimes the lyrics of songs can inspire you with their content, and I use them to write stories, scripts, and novels. I have already published eight books, including an Anthology of the Music of Equatorial Guinea, published in 2021. It took me 16 years to write. And a new edition was just published at the beginning of September 2025.
If you look closely, you can always find time instead of going to so many bars and clubs, which isn't bad for the body, but not always. Ha, ha, ha!
7. Could you tell us, in a few words, about the two editions of the Anthology of Equatorial Guinea Music?
The first Anthology, as I mentioned earlier, took 16 years to complete, from 2006 to 2021. The idea came about during a conversation with Mr. Leandro Mbomio, former Minister of Culture and sculptor, minutes before one of my concerts at the Spanish Cultural Center in Bata.
The second edition, published recently, includes many new contributions from artists who did not have the opportunity to appear in the first edition.
8. Have you thought about bringing these two magnificent works to the big screen through a film or documentary?
It would be great, but we all know the problems that come with that. I hope that one day a production company will come along and help us make it happen. The first problem and obstacle we encounter is our own society, which must start reading. We read very little; we got used to Latin American and Nigerian soap operas and pastors, and there we got stuck or stagnated. But faith moves mountains. John 1:14-18 And the Word became flesh and dwelt among us. And...
9. After so much research to write that anthology—backed by both distant and contemporary history—do you think it will be more difficult now that Guinea's music is becoming “Nigerianized”?
I have made my contribution, which is to pass on the legacy of our musical culture to the new generation, and now it is up to each person to do what they can or want to do. Newspaper carries information and, of course, it's up to each of us how we use it. Some use it to roll joints, others to wrap their shopping, and there are even those who use it to wipe their... Sorry to be so blunt. Ha, ha, ha!
10. It's clear that you're known as the Baron of Rhythm. If you had to choose one musical genre from your extensive repertoire, which one would you choose as your “standard genre”?
Even though I'm not much of a dancer, I really like African rumba, which is the mother of all music. That's where it all started.
11. It is said that music has no borders, as tastes do not depend on language. But you, as a son of the Ekang or Fang people of Equatorial Guinea—a language spoken in several African countries—do you think this market is being lost, given that the younger generations hardly sing in this beautiful language?
I think they're missing out. Ha, ha, ha, just kidding. Those responsible for culture in this regard are partly to blame. A country's culture cannot be abandoned or left in the hands of foreigners. That's what the Ministry of Culture or Education is for. They must value our languages above all else. Kids are forced to go to centers where they are given opportunities. In any case, we can never know what each artist has inside. It all depends on the message that each work conveys. Music, in any case, has no borders or language; it is universal, period. But singing in your country in a little-spoken language sounds very complicated.
12. Equatorial Guinea has catchy but almost forgotten musical genres, such as machacando and eboladza. Why do you think they have been left out of the country's current music scene?
It's the fault of cha, cha, chá- ha, ha, ha, that is, playback. Since playback was introduced in the country, artists have been taking the easy way out. They record songs on a computer, grab the microphone, and succeed and get laid. In our day, music was played live. Now, go ask someone to do that and you'll see how many know how to tune a guitar or play live. And the few who do know how to play an instrument are almost laughed at and are not valued.
Before I left Equatorial Guinea, I also thought the same about our musical culture, but as soon as I left, I realized this and began to return to my roots. We never value what we have, or rather, we always value what we have lost.
13. Is the Baron of Rhythm already working on a third edition of the Anthology?
I'm currently finishing a kind of anthology, but only of female artists from Equatorial Guinea, with real testimonies and interviews with artists from the past and present. It's a big surprise.
14. What advice would you give to new generations of musicians looking to make their way in a global market dominated by large foreign music industries?
The first obstacle they face within the country is limited access to the internet. Without the internet, it is almost impossible to make a name for yourself nowadays. They should talk to the relevant authorities to solve this serious obstacle and problem. The country has always had great talent, due to its rich culture. They need spaces where they can share their music without censorship. They should stop waiting for birthdays, weddings, communions, etc. to be able to perform. They must seek out venues to play their music themselves, through personal contributions and efforts, and charge admission like in the old days, when people came to dance, Tam tam Boys, Ntumba Nkuar, Los Tú y yo, Obiang Mba, Etofili, Bochapa, Los Berecs, etc. Yes, you can, guys!!!
15. If you could choose a dream stage or festival to present your work and the richness of Guinean rhythms to the world, what would it be and why?
Right now, my dream is to play in the clock square in Bata alongside other artists, in front of the people who saw me born and grow up and who have never had the chance to see me perform.
Thank you for sharing with us. Is there anything else you would like to say to the readers of Ë Kottò magazine?
Nothing more to add. I hope you enjoyed it. Peace to the world!
Activity
Promotion
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Ngomoline Productions
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APCA (Asoc para la Promoción de la Cultura Africana)
OPINION
JAVIER BAITA BANCH
The future of Bubi: a language that wants to continue being heard in the streets
In the streets of many towns and cities, the language you hear also determines the vitality of a culture. In the case of the Bubi people, every conversation in their mother tongue is an act of resistance and cultural affirmation. Hearing Bubi in markets, in the courtyards of houses, at community celebrations, or in the voices of young people is no minor detail: it is a sign that an ancient tradition is still alive.
However, social changes and the influence of other dominant languages threaten to push it into the background. To prevent this, various cultural groups insist on the need for Bubi to not be limited to the family sphere, but to regain prominence in public life. “A language that is heard on the street is a language that beats in the heart of its people,” say some of its defenders.
Education appears to be one of the most solid ways to guarantee this future. Including Bubi classes in schools would not only reinforce the correct use of the language, but also instill pride in speaking it in children. Formal education would also allow for the creation of written materials, songs, and digital content in the Bubi language, expanding its areas of use and modernizing its reach.
In this regard, cultural heritage experts remind us that a language is not just a set of words: it is a reflection of a unique way of understanding the world. Losing it would be like losing a living archive of stories, songs, proverbs, and knowledge that cannot be found in any other language.
Today, more than ever, the presence of Bubi in the streets and classrooms is seen as a collective challenge. The future of the Bubi people is not only at stake in the economy or politics, but also in the ability of its inhabitants to keep their language alive and pass it on with pride to new generations. Because, as the elders often say, “a language that falls silent is a people that dies out.”
JAVIER BAITA BANCH
SOKKÒ
TIMELY NEWS
New single!
Poet's Blog
LÖTÓ’ÓLLÓ
Ö lötó’ólló ló oberi lue ribellè
Ëbóbë Kó lötó’ólló luaò
Kó vöótè wè eria’.ö.
Ö lötó’ólló ká rihóle, ka eteba,ká rimmamabió
wë pálá o párá lötó’ólló á tyílèrò itè atá,
hèrahò ö winnòò, ë tébáò,
ö wétáò,
Ö lötó’ólló kò bösori wè
tyekkú bö lè ökana bö, lö lókka,
lë kárityöbbò, lö bötatté,
lé bíriia biaó.
Kò böhai bö lè alla ‘ bö ë tyé tö purí ë.
Ë bëkeu bia betyö bi la rekèssa
ë bó wella ò lötó’ólló,
I nokkò í útubbam ka’ó :
ë bëtyètye bié biöllo bi kákabia
ë biëtta wëlla biá bikëbíkë.
Ö lötó’ólló Kó vöótè wè eria’ö le ribobo re biëká biao.
Ö lötó’ólló Kó böe, ló bö’ó bottó wà ribötyö rito.
“É ribötyö welá rima o le’á tölló, wae a ló lötó’ólló luá abobé, ötyommá.”
Soésiöbo. ©️2024
Ë ILÁM (MY VOICE)
by Carlos Bolete Lobete
Ë ilám.
Ballá ná bá la ipölla
öámmo ö böém wëla.
Biebba la ëhëá ná ë nkòm wëla
ë la tuturó.
Ë ilám.
Ballá ná bá la etya.
Ë röppa wëla bí la seballa la ëháe,
bësari ná bí la sölla ë bi íkkiò bí hatte
lë sihúruru.
My voice.
Words that emerge
from the depths of my soul.
Sound waves that slide in the tunnels of my neck
slither.
My voice.
Words that grow.
In pain they dream of calm,
symphonic notes that let their breath fly
with the breeze.
DYNASTY
by Sharon Jones
I am the descendant
from a dynasty.
Circumstances and situations
cannot destroy my legacy.
I believed in my spirit,
knowing I am free.
Guided by the marvelous
light of truth and unity.
Not allowing the oppressor
to detain the true me.
Owning my power,
over my mind, spirit, and body.
Seeing the chains
as only minor distraction
to bind me.
I hear the powerful
voices of my ancestors,
hiding from view, saying
They cannot find me.
You are not lost.
We are walking with thee.
You are safe and protected
Keep walking with dignity.
Do not allow them
to transfer hate
within your energy.
Do not let them
tell you who to be.
Do not allow them
to enter your dynasty.
Ë KOTTÒ
Publisher
Diversity Ëtyö Project
Magazine Director
Barbara May
Editor in Chief
Tomás May Pelico
Designer
Böhulá
Colaboration
Eduardo May Mata
ISSN 2833-4124
© 2025
All rights reserved.
May not be reproduced without the written permission of Ë KOTTÒ.
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