On September,20th 1979, during one of his musical outings outside the county town, Ziskakan was turned back from the theatre in Tampon. With snapshots in support of this, the Daily (local newspaper) reported the event in its next issue.
In an island politically parted in two with the supporters of the department status on one side and the partisans of the autonomy on the other, resistance immediately organized itself around this emerging band who dared say out loud what others thought.
In the open air of Richelieu square in Saint-Clotilde. In the middle of the theatrical setting of Saint-Jean theatre. Or on the heights of Tampon at Ti' Georges Hoarau's place. Ziskakan could rely on a strong network of militants to denounce the excesses of the island " ship adrift"(bato fou in Creole language) .
Thirty years later, this is no time for regrets. The split between the supporters of the department status/autonomy followers hasn't outlivedthe election of the first socialist president of the fifth republic. From now on, the Maloya belongs to Humanity World heritage.
In the meantime, Ziskakan has grown. Round the charismatic Gilbert Pounia, the "Fonkezers" (storytellers/poets)of the beginning have handed over to exceptional musicians. The band has even hit the professional lights in the mid-90s through a historical contract with Island record. Bob Marley's record company. New Morning. Central Park. Sun City.
Everywhere Ziskakan has sown the seeds of ternary music directly originating from Sla- very. A music endowed with multiple influences, sometimes Malagasy (Madagascar), so- metimes Indian (Banjara) that the band carries on exploring and carefully respecting the recipe which made them successful.
A spicy music supported by committed lyrics.