雨果·策普，As an adolescent Hugo Zemp wanted to become a jazz musician, and at the age of 20 entered in a three-year program of percussion at the Conservatory of Basle, his hometown in Switzerland. In 1958, at the age of 21, he travelled to Côte d’Ivoire to experience African percussion. There he met André Schaeffner, the father of French ethnomusicology from the Musée de l’Homme in Paris, and his wife Denise Paulme, professor of anthropology. Seeing Zemp’s enthusiasm for African music, they invited him to come to Paris to study. He finished his musical studies and began studying anthropology, linguistic and ethnomusicology in Paris.Conducting his fieldwork between 1961 and 1967 in the Côte d’Ivoire, mostly among the Dan people, Zemp wrote a doctoral thesis that garnered interest among French- and English-speaking ethnomusicologists studying West African music. He also made shorter stays among other peoples to document and record their music, among these the Senufo, whose balafon music impressed him so much that he returned to Côte d’Ivoire forty years after his first encounter to make the four-film series Masters of the Balafon. In 1967 he became researcher at the CNRS (Centre National de la Recherche Scientifique) at the Ethnomusicology Department of the Musée de l’Homme, in Paris, where he worked until his retirement in 2004.An important event for Zemp’s professional life was an encounter with Daniel de Coppet, whose sound recordings from the ‘Are’are people of the Solomon Islands almost let him forget African music for a time! Hugo Zemp started a new fieldwork period in 1969 with a 16mm camera, making all of the mistakes of a beginning filmmaker. Zemp began to find his way into ethnographic filmmaking with the help of friend and ethnographic filmmaker, Jean-Dominique Lajoux, as well as all of the books he could find on documentary filmmaking and the films of Jean Rouch.An esthetic shock was watching Rouch’s film Tourou et Bitti, a nine-minute sequence shot on a possession