IIWiki:Today's featured article: Difference between revisions
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<div style="float:left;margin:0.5em 0.9em 0.4em 0;">[[File: | <div style="float:left;margin:0.5em 0.9em 0.4em 0;">[[File:Miriam Makeba (1969).jpg|150px]]</div> '''Djeli pop''' is a {{wp|musical genre|genre}} of {{wp|popular music}} originating in [[Bahia]]. The modern conception of the genre became prevalent in the 1980s with the popularity of the genre amongst the Bahian diaspora, in particular the success of [[Garambura|Garamburan]] artist Chloe Kolisi, but its original forms can be traced back to the mid 1960s in [[Mabifia]] where such music was seen as a way of combining traditional sounds with modern, especially Euclean, techniques as a revolt against the socialist regime of Fuad Onika. It is marked by its usage not only of traditional instruments such as the {{wp|balafon}}, but also Euclean instruments like the {{wp|electric guitar}} and even {{wp|digital music software}} in contemporary pieces. Despite its origins in the traditional {{wp|Mandinka people|Bélé}} Houregic caste, Djeli pop was quickly adopted by singers of other ethnic backgrounds. Its first star was Honorine Uwineza, an ethnically {{wp|Banyarwanda|Barobyi}} singer who saw limited international success, but due to Mabifia's international isolation the genre remained highly local until its adoption by Garamburan artists in the 1970s. Thanks to the international connections of [[Mambiza|Sainte-Germaine]], Djeli pop was able to attain international success. While Garamburan Djeli pop was initially related to the independence struggle due to its Mabifian links, it eventually became associated with the [[Pan-Bahianism|Pan-Bahian movement]]. This has continued to the modern day, and despite the prevalence of diasporic artists the focus of Djeli pop remains an embrace of Bahian traditions and pride in Bahian culture. Its popularity is not constrained to the Bahian population and diaspora, as its association with {{wp|anti-imperialism}} and {{wp|urban culture}} has led to the rise of a subculture in several Euclean nations. ('''[[Djeli pop|See more...]]''') | ||
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Revision as of 13:30, 1 May 2021
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Djeli pop is a genre of popular music originating in Bahia. The modern conception of the genre became prevalent in the 1980s with the popularity of the genre amongst the Bahian diaspora, in particular the success of Garamburan artist Chloe Kolisi, but its original forms can be traced back to the mid 1960s in Mabifia where such music was seen as a way of combining traditional sounds with modern, especially Euclean, techniques as a revolt against the socialist regime of Fuad Onika. It is marked by its usage not only of traditional instruments such as the balafon, but also Euclean instruments like the electric guitar and even digital music software in contemporary pieces. Despite its origins in the traditional Bélé Houregic caste, Djeli pop was quickly adopted by singers of other ethnic backgrounds. Its first star was Honorine Uwineza, an ethnically Barobyi singer who saw limited international success, but due to Mabifia's international isolation the genre remained highly local until its adoption by Garamburan artists in the 1970s. Thanks to the international connections of Sainte-Germaine, Djeli pop was able to attain international success. While Garamburan Djeli pop was initially related to the independence struggle due to its Mabifian links, it eventually became associated with the Pan-Bahian movement. This has continued to the modern day, and despite the prevalence of diasporic artists the focus of Djeli pop remains an embrace of Bahian traditions and pride in Bahian culture. Its popularity is not constrained to the Bahian population and diaspora, as its association with anti-imperialism and urban culture has led to the rise of a subculture in several Euclean nations. (See more...)
KEEP THIS ONE PARAGRAPH IN LENGTH so it doesn't push the main page section down below the other section.