Djeli pop

Djeli pop
Honorine Uwineza, considered by many to be one of the founders of the genre
Native name	𞤔𞤫𞤤𞤭𞤺𞤢𞤤𞤤𞤮𞤤
Other names	Hourege pop
Stylistic origins	Djeli Electro Gaullican pop (contemporary)
Cultural origins	20th century modernisation of Ndjarendie traditional music
Typical instruments	Guitar Kora Balafon Marimba Drums Synthesiser others
Fusion genres
Djisco Djelectro
Regional scenes
Mabifia Garambura Diasporic

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.

Controversies

Accusations of historical revisionism

Djeïne during a performance in Mambiza in 2016.

One of the major modern faces of pan-Bahianism in global pop culture, Mabifian-Gaullican artist Djeïne came under criticism in 2018 for remarks made at a concert in Verlois. She claimed to be the "Houregess of pop music", and when asked to explain the title went on to describe the system in a way that was described as "historically revisionist to the extreme, to the point of depicting the Houregic system as vastly superior to modern Bahia" and claiming that Bahian slavery was "humane, and a part of Bahian culture which should not have been erased by the colonists". Facing widespread criticism in Euclean media, she later claimed that the remarks were taken out of context but did not offer any further explanation and instead claimed that she was being vilified for her race. Several popular radio stations removed her songs from air, but overall sales of her music increased by 4% in the three months after the event.