"Meiway, a Voice of Africa," is the first biographical work authored by Milis Inoussa Zeba on the Ivorian artist Patrice Désiré Frédéric II Ehui (known as Meiway), whom fans artistically dubbed the "King of Zoblazo." Published by Eburnies Editions, the work is divided, according to the author Milis's direction, into six parts with 16 chapters. As a 'duty', Pol Dokui, the Director of Radio Fréquence 2 Côte d’Ivoire, wearing the hats of both 'Uncle' and admirer of Meiway, pens the foreword of the biographical work. Having seen numerous artists become stars "during his long and rich radio producer career," he finds in Meiway a strength: his ingenuity and his deep roots in culture. A characteristic, he notes, found in the artist's 'endearing, friendly, and open to all' personality, through a modernized rhythm of the Akan folklore group in Côte d’Ivoire. The beginnings of this style, according to Milis Zeba, of which Meiway would be the 'creator,' are perceived from the start in Aybèbou, his first album released in 1989 under Sonodisc. But it's Ernesto Djédjé - also the King of Ziglibity - who instills in Meiway the desire to use the folklore of his homeland to defend Ivorian culture internationally. Faced with Reggae, Salsa, or Jazz, Meiway draws attention to the originality of his rhythm - non-universal - to which he adopts, starting from his 2nd album 200% Zoblazo, the symbol of increasing percentages. To materialize his progression. A source of motivation that personally encourages the artist to ensure that his productions, failing to be better, have the same value as the previous ones. That is, to maintain himself and give momentum to his career. Thus, he commits to delve deeper into his musical research so that his music is appreciated worldwide. While demonstrating a 'transnational' dimension of his music, Meiway combines Zoblazo with Highlife, M’balax, or Congolese Zoukouss. Without succumbing to trends. According to music professor Kossonou Kouakou Henri-Luc, author of "Meiway's Music," his final cycle thesis at the diploma of higher artistic studies (Desa 2001-2002) - mentioned in Milis's bibliography - artist Meiway breaks with all monotony. Because, explains Mr. Kossonou, there is polyrhythm and polytony in his works.

Meiway, a Unifier before being Pan-Africanist Open in musical terms, Meiway, he says, before being Pan-African, is a unifier. Thus, winking at the Liwaga of Burkina Faso, the Poro among the Sénoufo, the Makossa, Meiway "ingeniously manages to link the works. Which explains why he has relative success in Africa." "The only way for an artist to see people embrace his works is to touch a part of their daily lives, everything that constitutes their existence, the region, tradition, culture," he translated. For Professor Kossonou, who conducted a musicological study of Meiway's work to explain the artist's contribution to Ivorian music, several rhythmic motifs (rhythmic syncretisms) and melodic and harmonic research are easily detected. "All the musical choices made in a musical composition, far from being made on a whim, are objective. They must be justified... The most important thing for an artist in creating his works is not to produce just for the sake of producing, but to allow the majority of the population to embrace his work," says Kossonou Kouakou, who transcribed Meiway's works into scores (pages 46-47). Thus drawing a parallel between Meiway's works, Kossonou Kouakou Henri-Luc highlights in the artist a poetic aspect. "He manages to treat themes with warm music, as if to lighten things up; to not be fatalistic to the point of pitying his fate. He generally uses the minor mode. He manages to treat his themes, not only with lively rhythms but also with major tonalities that give a jovial character. Every time, he refuses to let himself be caught up in this element of distress. He rejects fatalism; he believes in his destiny," explains Professor Kossonou, whose thesis field was more musicological to explain that Meiway's music is indeed Ivorian music. "We can qualify Meiway's music as Ivorian music because it is syncretic. When we talk about Ivorian music, it aims to be unifying. Not hearing the same sequences from one region," he argued. "Meiway, a Voice of Africa" plunges the reader into a universe described by Milis as "mystical, sensual, and electric." A work that traces Meiway's childhood from Grand-Bassam and sometimes reveals unknown pages about the artist. It is also a career adorned with success as a record holder of the Koras in Côte d’Ivoire.