It was a 90s anthem that made millions from a 'stolen' sweet lullaby

In 1992, the French musical duo Deep Forest released "Sweet Lullaby," a track that would become emblematic of the emerging genre known as "ethnic electronica." The song prominently features a traditional lullaby from the Solomon Islands, originally sung by Afunakwa, a Baegu woman from the Malaita province. Although the haunting melody captivated millions globally, the recognition and financial rewards rarely reached Afunakwa or her community.

The lullaby, known locally as Rorogwela, was recorded in 1969 by Swiss ethnomusicologist Hugo Zemp during his fieldwork in the Solomon Islands. Intended as a cultural preservation piece, the recording was included in a UNESCO collection. Decades later, Deep Forest discovered this recording at a Paris music store and integrated it into their composition, which propelled their album to commercial success, selling millions of copies worldwide and becoming notably popular in Australia.

Despite the song's international acclaim and widespread use in advertising campaigns by corporations such as Sony and Porsche, neither Afunakwa nor her descendants received proper attribution or royalties. The lullaby was often misattributed in global media, with visual representations featuring African subjects instead of acknowledging its Pacific Island origins. This misrepresentation contributed to the erasure of Baegu cultural identity in public narratives surrounding the song.

Controversy deepened as Hugo Zemp, the original recorder, asserted that he never authorized Deep Forest to use Afunakwa's voice or the melody. He maintained that Deep Forest had claimed his endorsement without consent. The French group countered these claims, stating that permissions were managed by their producers and record label; however, the responsible label has since been acquired by Sony Music, which has not publicly addressed the issue.

Within the Solomon Islands, especially in the remote Baegu region where access remains limited, the lullaby holds deep cultural significance. It tells the story of an elder sibling caring for a younger one after the loss of their parents, a narrative passed down through generations as part of the community’s oral tradition. Local custodians of their musical heritage emphasize the importance of these songs in marking life events and maintaining cultural continuity.

Efforts to seek justice and acknowledgment have been spearheaded by members of Afunakwa's family and local leaders. Celsus Talifilu, a Baegu man and advisor to the Solomon Islands Prime Minister, has long regarded the matter as a personal mission. While legal action was considered, the daunting prospect of confronting a major corporation like Sony discouraged formal lawsuits due to financial and logistical barriers.

Renewed momentum emerged through collaboration with Australian electronic musician Matt Singmin, who initially sought to remix "Sweet Lullaby" and uncovered the story’s complexities. His engagement with the Baegu community led to the establishment of the Afunakwa Foundation, aiming to recover owed royalties and raise awareness about the origins of the song and its rightful owners.

Deep Forest continues to perform "Sweet Lullaby" on their tours and has updated online credits to acknowledge Afunakwa and Hugo Zemp. Eric Mouquet, the remaining active member of the duo, expressed regret over the oversight and openness to dialogue with Afunakwa’s family. Despite these gestures, the full resolution regarding fair compensation and cultural respect remains in progress.

The case of "Sweet Lullaby" underscores broader conversations about the ethics of sampling traditional music, the necessity of fair cultural representation, and the challenges indigenous communities face in protecting their artistic heritage within the global music industry. It also highlights the persistent disparities between commercial success and the recognition of original creators, especially when those creators belong to marginalized or isolated communities.

As the story unfolds, it serves as a potent example of how music can transcend borders yet simultaneously spotlight unresolved issues of ownership, respect, and restitution. For the people of Baegu and Afunakwa’s family, this journey is about reclaiming a piece of their cultural identity and ensuring that their artistic contributions are acknowledged and valued properly in the modern world.