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Singer-off peers by its fluid and limpid vocal timbre, Therese Kishila Ngoyi alias “FAYA TESS” is one of the few female rd-Congolese voice whose echo has overflowed the national boundaries and even Africa. In the footsteps of legends Jeff Kale, Franco, Tabu Ley, it is one of the true heirs and followers of modern Congolese rumba. At the invitation of Serge Kayembe, the beautiful creature soft-spoken, based in France, has signed a brilliant pass at the 9th edition of the International Festival of the Stars, “FIET” in Kinshasa. After his show, the former diva Afrisa International Group Tabu Ley confided in your newspaper that has drawn him the worm’s nose. Find FAYA TESS called “The Freshwater Mermaid” in columns below:

Why have you chosen to settle permanently in Europe, considered cemetery for artists?
FAYA TESS: Cemetery? Maybe for others! But I’m no artist outside for my country. On the contrary, I always defend the Congo outside because I always wear the identity of the Congolese rumba. Outside, I defend our culture by my way of being, my way of dressing. Before coming to Kinshasa, I gave a great concert “Night of Rumba” in which I, your humble singer, I was accompanied by a Cuban group, in an amphitheater at Lion. It was great. For Congolese rumba was in honor! Internationally, there is so much music, so many communities that exist. If we remain at the country, we will not have our global visibility. So I’m riding between there and here. Therefore, whenever there is an opportunity that presents itself, I do not hesitate to return to my country and then leave for the promotion internationally.

Are there a difference between Faya Tess today and that of 80-90 years?

FT: FAYA TESS, the Fiesta style. FAYA TESS is the product Tabu Ley. I’m just a continuation of that beautiful melody that is our wealth with my way of being. I think so far the songs I’ve played, I’ve only feminized. FAYA TESS belongs to an identity. His touch is the true rumba, since our music is the rumba which everyone tries to reproduce in his own way. It is for us the donor fathers have left the burden of rumba. We are the heirs of this rumba. You know a time when a Congolese went anywhere in the world, so our music Congolese rumba was a reference. Today, we need to work and stay the course.

You took part in the 9th edition of FIET. What is your reading of the Kinshasa public came to your show?

FT: I really felt that there is a real need for my music in the heads of Kinshasa music lovers. Honestly, the public Kinshasa showed me that I miss him a lot and he needs my melodies. Contrary to what you think, what are young people who need my music more than the old. Besides, I thank the public, my fanatics who had made the trip from the GB complex to live and listen to my music live. Not to mention, the Honourable Serge Kayembe, who offered me this opportunity to commune again with everyone.

How is the rest of your career after your successful transition to FIET?

FT: I have a lot of programs. Really a hectic schedule on the scenic and discographic plan. First, I soon get out an album entitled “Special” with 13 tracks. Really, it will be special until the release soon of another album “Black Storm”. I also take part in two major festivals alongside the Cubans, in Lyon in September and in Toulouse in October. So in France! I can also go to Abidjan in the Ivory Coast for a production with the Ivorian singer, Monique Seka.

What are your relations with other Congolese singers?

FT: I maintain very good relations with other singers who are my sisters. In Brussels, I had just been there not long ago with MJ30. Apart from her, I still others who also come from elsewhere. I am with them. In my capacity as Vice-President of Association gathering artists Congolese musicians playing in Europe, I can only mature and better maintain fraternal relations with colleagues, or male and female. Here, when I come often, I always exchange with mom Tshala Muana, “Mamu National” to tell him I’m here. There is a new and young singer “Kata-Lea” I met there recently. Really, it’s great. I really need the support. At the time in the early 2000s, when I returned home to promote my album, there were not really women who were interested in popular music. Today, the trend is being completely changed. Personally, I always support all women who engage in music that is already a tough job for men and 3 times more difficult for women.

Today in music, talking with guest appearances from artists. But you do not feel you in this light especially of you singers. What?

FT: The word or term featuring, for me, that came after. When one is in Europe, when you’re on stage or in many works, this is what we have always done. At my level, I’m here, have to make guest appearances with any artist, but it depends on the commercial policy of our production houses. If asked me to do with my pairs singers, I will. Besides, I said that soon I will go to Abidjan to sing with Monique Seka or my songs or songs. In my albums or music compilations, there are often large participation of the rumba as Danos Canta Niboma, Caen Madoka … So I’m always in favor of this artistic exchange through the featuring.

Browsing through your biography, you realize that Faya Tess was anxious to finish his studies before entering Afrisa. Education or talent: what is essential in the career of an artist?

I think it’s really important for the artist to study because when you become an ambassador of culture, must have general knowledge, that is to say, to know many things. You should know how to defend its product, how to defend his work. And we can not get to do that if we have a good base. For me, artists are the mirror to educate the masses, to educate society. If the artist has no items in his head how can it educate the masses or society? It is my observation! That’s why I wanted to my studies. I went to Europe, I combined all the same. I did not stop me there. So that today I am an ambassador in a large association “Afrique Avenir” for the prevention of Afro-Caribbean population France and supported by the French state.