The Paris-based multi-disciplinary artist Oko Ebombo began his career as a dancer, poet and performance artist. Ebombo dropped his first full-length album, Free Emotion, last October. Raised in the tenth arrondissement of Paris, the multi-talented virtuoso got his introduction to the arts through movement and dance, something that is apparent in all his endeavours. Oko is a visionary in the realms of creative direction, songwriting, production and dance. He has dedicated his life to both inspiring and entertaining through music, poetry and performance art. His journey began at twelve, teaching dance in Paris, and at sixteen he set off to tour the
globe with world-renowned artists. Oko has lived as a nomad, weaving through diverse cultures and drawing inspiration from communities worldwide. Amidst life’s adversities, he has transformed his pain into beauty, exploring dance, filmmaking, photography, songwriting and singing. Since the release of his debut EP Naked Life in 2016, Oko has filmed music videos in the Netherlands, Japan, Congo, Morocco, and his beloved stomping ground: Paris. As he approached his fortieth birthday, he unveiled his first full-length album, Free Emotion, a profound exploration of vulnerability, love, pain, family, loyalty, community, the sensual and joy. Ebombo shows us how the sensual is at the core of everything, and is the most natural and the most joyous condition.
Rita Ouédraogo: How does sensuality manifest in your practice?
Oko Ebombo: It’s something that is already there because I want to present things in an appealing way. I want to give hope and power to people who experience the same life as me. For people who don’t know me though, I just always say that it’s better to be a prince than be a king or a valet. I’m originally from Congo and our music is Congolese rumba. We always explain pain; we do long readings and explain pain. We don’t have to show it, it’s already there.
…We keep our minds jazzed, experiencing the blues on our way to work and in our daily activities…
Rita: As in something that’s inherited?
Oko: Yes, I believe it’s something ancestral, something that goes beyond my parents. It derives from where I originally come from and is expressed in our way of living. For me, it’s about sincerity. You have a street attitude but maintain a sense of class – that’s what true class is. We keep our minds jazzed, experiencing the blues on our way to work and in our daily activities. Despite everything happening in the world right now, even when we’re upset, we strive to be sexy and classy.
Rita: Is being sensual a way of claiming your space and expressing your personality, who you are?
Oko: It is. I never had much growing up – no toys for Christmas or even enough food. But I believe that the more emptiness you experience, the more space you have in your mind. This allows you to see and appreciate more colour in life.
Rita: So, can a lack of something create space for more expression?
Oko: Yes and no. Everything is already in your head. If you can test and try things in small spaces or make use of a single wall, you can eventually do it bigger and better. You can compose and recompose whatever you want. That’s my perception. My first song is called ‘Naked Life’ because that’s what life felt like. Now that I have some money, as I tell my friends, I spend it on creating memories. Going to a restaurant, for me, is already a success. That’s sensuality – it can be food, a painting or a person. Sometimes it’s not just about beauty; it’s about the sensuality and attitude someone carries. It’s what you feel when you see someone walk in with a certain presence.
Rita: Sensuality is something bodily, something experienced through the body. Your practice is so diverse – you’re a dancer, choreographer, singer and composer. How do you see sensuality in all these forms? Is it different in each of your creations?
Oko: I would say I use different tools. I was a dance teacher for over twenty years. The expression of your body is already a form of gratitude and a connection to sensuality. Choreographing something beautiful is a part of that. For me, it was always there in some way. That’s how I see my work because I’m self-taught. I can push myself to do more, even beyond what I formally know.
Rita: You are also quite particular with your videos. When you make a video for a song, they’re always different and tell a distinct story.
Oko: Yes, but there’s still a common thread. I think my past is intertwined with my parents’ and ancestors’ pasts. My parents’ experiences shape my generation. I shoot everything in Super 8 or 16mm film because they’re like memories, and it brings a certain aesthetic and sensitivity – the light, the contrast, you can feel the depth.
Rita: It’s interesting because you’ve lived in so many places and travelled extensively; this must have influenced your work.
Oko: I didn’t have a choice. How are you going to learn when there’s no one to teach you? If I had stayed in Paris, the oppression would have been too much. France is a difficult place to express yourself or be true to who you are. Travelling gave me space. You encounter so many beautiful things, meet amazing people and cultures, and you can transform all that into something positive.
Rita: Do you feel there’s more space to explore these things outside of Paris than in Paris?
Oko: I want to see the world, and have the big picture, but maybe not in Paris. I want to see the richness of cultures, experience travel, and engage with people and new challenges. These experiences bring me energy and inspiration to create. It’s also refreshing to see different landscapes and to realise that I have the freedom to explore now.
Rita: Your latest album Free Emotions seems like a collection of many events in your life, influenced by different places and people. Can you tell me more about it?
Oko: Free Emotions represents my first experiences with various emotions. It captures my encounters with my city, sex, humanity, God, my mother, loyalty, death, celebrating pain, and friendship. These are my first emotions, my first words. I wasn’t originally supposed to sing. I was a dancer. This collection of poetry spans 2009 to 2016. It reflects my vision of the world. If you listen closely, it’s not just about me; it’s about me in relation to others and everything around me. That’s Free Emotions.
Rita: I feel that when I read about you and when we meet, you always include many people. It’s partially the Oko show, but it involves others too. You’re always giving lots of shout-outs.
Oko: Actually, it’s not the Oko show – it’s the real Oko. It’s real life. People have helped me all my life, giving me energy and so much more. It’s not just about sharing; it’s who I am. I am nothing without people. Having a crew helps me because I do everything on my own. As I grow more mature, I understand better what I want. It’s hard to find the right people, and sometimes you think you have but then realise you haven’t. However, I think I’ve a great team around me, though it’s still a work in progress. For the big performance at the Bourse de Commerce I worked with my band, The Muchachos. It used to be called 19, but I renamed it to honour my father. His name is Muchacho, so it felt fitting to call the current band this. It was the first time I presented my new band under this name.
Rita: You also mention your mother quite often …
Oko: She’s definitely a big influence – she’s the queen, the mother. However, I’m following in my father’s footsteps. I’m fortunate to have both of my parents, and they’ve given me the best they could with very little. I’m trying to take the next step forward. I am a product of them. All the sensuality in my work is just the essence of being human.
Rita: Do you find yourself working differently with large institutions as with your show at the Bourse de Commerce?
Oko: Not really. I’m actually the main director of my shows. Institutions provide a budget, allowing me to collaborate with the people I truly want to work with. Through my extensive travels I’ve immersed myself in music scenes worldwide – from meeting rock bands in Portland, Oregon, to exploring jazz in New York and Japan. My true passion lies in bringing together these diverse experiences and performances rooted in everyday life. I’ve been fortunate to learn and grow through these encounters, often participating in underground performances that fly under the radar. Having a substantial budget to showcase what I find meaning-ful is a blessing, and I’m grateful for the opportunity. It’s always an incredible experience, and I hope to do more of these shows in the future, though I realise it’s a demanding ask and not many can accommodate it. Working with institutions has been positive; they’ve been supportive and have done their best to facilitate my vision.
Rita: When I look at you or your work, it often seems like there’s no clear start or end. It feels like an ongoing process, part of how you live your life. It’s always present.
Oko: Exactly, Rita. I am always working. Even when I feel overwhelmed I keep writing my notes and album names on the side. People sometimes think I take too much time for my work, but you have to understand that expressing new ideas and perspectives takes a lot of effort.
Rita: I just wanted to ask about improvisation and spontaneity in your work. I have the impression that you plan quite extensively. Could this be influenced by your background as a dancer and choreographer?
Oko: I take time to plan meticulously. However, I live day by day. I don’t even know what tomorrow will bring … Thankfully, I’ve had a stable job for years, but I still feel chaotic. At forty I’m still figuring out realistic expectations for myself.
Rita: That’s good – finding some stabil-ity, perhaps.
Oko: Stability and reality. Sometimes you can’t see the big picture; you just have to focus on yourself. Things take time. Time passes, but achieving things takes even more time.
Rita: You often mention Paris’ tenth arrondissement where you were born and raised. How did it shape your work?
Oko: I grew up in a ten-square-metre space with just one window. All my dreams were seen through that window, while the actual space was confined to those ten square metres. That limited environment had a profound influence on me. The diverse cultures – Indian, Arab, African, Chinese – the violence, laughter, craziness and joy permeated my upbringing. Behind closed doors there was noise – sometimes ugly, sometimes natural, sometimes chaotic. There was constant movement, which fuelled my desire to travel. My father, who travelled extensively and lived multiple lives, influenced me greatly. Music played a significant role in these experiences, exposing me to various musical genres and cultures that couldn’t be contained within such a small space. I needed that window to dream. My father is Muchacho. I am his son. He was a dancer, boxer, painter and singer who had many women and numerous children in his life. He was strong and vibrant, but he couldn’t read and didn’t have the opportunities that I have today. This is why I see myself as continuing his legacy.
Rita: I found it intriguing when you collaborated on that video in Amsterdam some time ago with Cinnaman. You’re very particular about your creative vision. You oversee all aspects as the creative director of your productions.
Oko: Yes, because I have to impose my style, my essence – this is Oko. Everyone has their signature, you know? It’s crucial for me that my touch is recognisable in every project and direction I undertake. As I mentioned earlier, my years as a teacher taught me the importance of clarity and finding joy in collaboration. In France, I’ve learned a lot working behind the scenes in various roles. People often see me and assume I’m just a singer, but in reality I’m deeply involved in creating the music.
Rita: That’s what fascinates me about your approach – it’s not limited to just dancing, singing, composing or directing. It encompasses everything.
Oko: Sometimes it varies, but when it comes to Oko I aim for grandeur. I mean this sincerely, not boastfully. Even though I may not be famous I know I’ve contributed a lot to Paris. I’ve seen many young Black people in my community starting to express themselves creatively, inspired by my example. That recognition and respect mean a lot to me after all this time. It’s been a fulfilling exchange.
Rita: Your album starts with a song titled ‘Paris.’ It’s intriguing how you begin with Paris as your foundation.
Oko: Paris is my world, my city. It’s where I wanted to introduce myself. However, my musical journey didn’t have French beginnings – it started with English, American, Japanese and African influences. To me, music blends these languages and cultures. It’s like working on the streets of my city, capturing its essence – not just its surface but also its complexities. Paris can be grey, with people feeling melancholic under the red lights turning green and yellow. It’s a subtle blend of pain, melancholy and groove.
Rita: I think I understand, and that’s something I also notice in your work. There’s often a sense of underlying pain. However, alongside the pain there’s also a lot of joy. It’s like you embrace joy in everything you do.
Oko: Pain, for me, is like a river – it flows continuously through my life. I’ve come to appreciate that my creativity allows me to navigate this pain, to embrace it as part of my evolution. I don’t always sing about it explicitly, but it’s always there, shaping my work.
You’ll see this reflected in my forthcoming second album, which I’m currently working on. This album feels different, almost unconventional, but in a good way. It’s not that my suffering has lessened; rather, I’m focusing on small yet genuine experiences. It’s dedicated to people – it’s full of life and there’s no hiding. It’s about facing things openly, working towards clarity and honesty. Especially with everything happening in the world today, if I don’t contribute positively it feels like I’m standing still. This album is my way of expressing care for humanity.
My latest video was shot in Morocco, titled ‘Ordinary People,’ marking the beginning of this new album. The title reflects my dedication to celebrating ordinary humanity.
Rita: You sing in many languages, including Lingala, as your parents are from Congo. Are you Congolese? French Congolese? Does language play a significant role in your work – and if so which language?
Oko: This morning, I was deeply immersed in Congolese music, dancing away. I have an forthcoming EP where I’ll be singing exclusively in Lingala – it’s a connection to my roots. I embrace it fully without any hesitation. In my heart I identify strongly as African. These roots bring me happiness, strength, despite the challenges and sorrows. Slowly, I’m making my way back to Africa, a journey you’ll hear reflected in my next album. One of the tracks is a dedication to my beloved continent Africa. Having travelled to many places, this feels like a pivotal moment where I reconnect with my origins.
My Congolese roots have always been there. As a dancer, it’s not something I need to display – it’s who I am. My name is Oko Ebombo. I hail from Africa, but I consider myself a child of the world. My roots are deep and will remain with me forever. There’s no evolution from where I come from; I am who I am.
Rita: Has turning forty brought about any changes for you?
Oko: Honestly, I still feel quite youthful. Men mature late; pretending to be a man at twenty-two is misguided. We’re all still learning and growing, constantly evolving.
Rita: Returning to the topic of languages, you speak many. Do certain songs require specific languages?
Oko: For example, on my second album, I’m singing in Japanese. I’ve been visiting Japan for fifteen years. My primary languages are French, Lingala and English, but I’m not fluent in any of them perfectly. It’s influenced by my nomadic lifestyle. Being of mixed heritage – European as well – it’s important to convey emotions rather than just language proficiency when I sing in English, French or any other language. It’s about capturing a feeling.
Rita: So, for a song like ‘Ordinary People’ you chose not to sing it in French, for instance.
Oko: No, I can’t because it’s about humanity, and as I mentioned I can’t express that in French. My English isn’t flawless, but it reflects my life experiences. My upbringing was more Parisian, but since I was sixteen I’ve embraced a global perspective, forming beautiful friendships and experiencing extensive travels. I’ve been through some intense experiences here in Paris. Singing about them in French doesn’t feel right to me. That’s why I prefer to sing in English. I embrace my imperfect English – it’s genuine, because who’s perfect anyway?
Rita: (Laughs.) Exactly. Good question. Anything coming up we really shouldn’t miss?
Oko: People still have to listen to Free Emotion!
Rita: I feel like you embody sensuality wherever you go. If I were to meet you now, here, you’d probably have Josephine, your boombox, with you.
Oko: For sure.
Rita: You’d likely start dancing right away, and there’s no question about the presence of sensuality – it’s clearly evident! I think that’s true to who you are, Oko. Whether you’re in the street, at the Bourse du Commerce, Amsterdam, Paris, Tokyo, Kinshasa, Brazzaville or New York, it doesn’t matter; you always claim your space, embracing both joy and, as you mentioned, pain. That’s something uniquely you when it comes to sensuality – it’s inseparable from your essence, no matter where you are.