In the 80s, most of the African musicians leave the continent. The reasons why? No recording studio, lack of production and distribution infrastructures. Europe becomes the work place… The musicians integrate the world music. A strong exposure didn't help the African artists to get their royalties. Papa Wemba, "spearhead" of world music and which we meet in a studio in Paris, tries to overcome this disequilibrium with the existence of two groups. One aiming for the African audience, the other made up of international musicians based in Europe for the occidental audience. Philippe Conrath, a freelance producer in Paris and organizer of the Africolor festival, informs us on the production and distribution conditions of the African music in Europe and highlights the importance of concerts for the bands which album barely has any promotion when a CD is released. According to the musician Ray Lema, authority of African music, the important is the personal investment of musicians to regenerate the musical production. The group Yao, which we are introduced to, is an expression of this investment. Facing an occidentalized musical market, they create and broadcast their production, attached to their conviction. Lokua Kanza, a songwriter, set out his first album creation conditions: a lent recording studio he uses by night. We then head to Senegal to meet Youssou Ndour who, since the 80s, develop recording, expression and broadcasting centers for African bands, including Cheik Lô, Kora d'or for best African artist. The rap band Jant'Bi is an example of this musical rise. Their creation is inspired by Tassou, traditional music mixed with Mbalax rhythm. 1994 to 1998 BETA SP OU DVCAM broadcast on Planète France et international, TV5, festivals.