Music of Garambura

Karam Hy, one of Garambura's most internationally renowned musicians, at the Fête de la lumière, Ainde, Mabifia, in 2015.

The music of Garambura has, over its years of development and history, come to encompass a wide range of genres, styles, motifs and art forms while utilising a myriad of cultural influences, both domestically and from abroad. Garambura has Bahia's largest music industry and sound recording industry by market capital, and is home to some of Bahia's most illustrious music festivals and studios. Major Bahian labels such as Sebaka and Courtet–Yucunou Company are headquartered in Mambiza, a city renowned for its musical diversity.

Garamburan music can be categorised in a number of genres, including electronic, folk, hip hop, jazz, pop, R&B, rock and soul, as well as hundreds of subgenres that encaptulate the country's cultural diversity. Many native genres, such as coupé-décalé, gondaphonics, gqom, kizomba, kwaito, makossa, mbaqanga, ndombolo, Nyikaitsva blues and semba take significant influence from native musical traditions, often incorporating northern musical influences into traditional Bahian ritualistic music.

Culturally, music from Garambura has had a significant impact on music in Bahia as well as other global music genres. Baiabeat was partially pioneered in Mambiza, and is now popular across Euclea and the Asterias. Diasporic music is popular across the Euclean Community, particularly in Gaullica. Large cultural exchanges have taken place between the countries, influenced by both native and Chennois populations. Garambura has participated in the Euclovision Song Contest since 1999.

Jazz

Littoral jazz

Top: Alessane Assise, a famous littoral-era pianist; Bottom: Anishilabi by Thlolego (1974), showing the blend of northern and native instrumentation in littoral jazz.

Littoral jazz is the name given to the variant of jazz music that emerged from the sœurs littorales (Mambiza and Makumba) in the 1910s and 1920s, spurred on by colonial authorities' promotion of Euclean music, styles and instrumentation. Unlike other jazz forms of the era, littoral jazz drew heavy inspiration from traditional percussion, including the balafon and karyenda, mixed in with traditional Euclean instruments such as the saxophone, trumpet and piano, all of which blended together a cohesive fusion genre.

Early forms of the genre were popular amongst Chennois demographics, whom jazz was usually targeted towards, but littoral jazz began to take form as a true cultural movement amongst the predominantly black audience of shebeens, where native instruments were much more commonplace. Many shebeens formed the basis of small cultural and tribal communities, and as such ritualistic themes were often incorporated into littoral jazz. In its early days, littoral jazz was a community-driven art form. Emerging before the commercialisation of music, performers were often based within local towns, and rarely travelled. The genre was extremely diverse, and styles varied from village to village, with styles often co-existing in the same areas.

When music began to be sold as a commodity in Baséland around the mid-1920s, littoral jazz was the first genre to gain a sizable commercial fanbase. Under functionalist administration, native music was forbidden from having a decent commercial framework, so littoral jazz took much of its influence under its broad umbrella to be marketed to commercial consumers.

After the decolonisation of Bahia, littoral jazz retained its stature of being Garambura's most popular musical export. In Rwizikuru it found a new audience in Freemen, but grassroots jazz movements still remained and formed the backbone of many communities. Once the ban on native music was lifted by the Rwizikuran government, littoral jazz took on a much more experimental approach. At the forefront of this change was Alessane Assise, who utilised his natural proficiency on the piano as well as an expansive backing band comprised of drummers, vocalists and other percussionists to create the first modern works of littoral jazz.

Pop

Djeli pop

Main article: Djeli pop

Rock music

Nyikaitsva blues

Kaswatu Kabili's Tarhatazed, released in 2008, is a seminal piece of Nyikaitsva blues.

Nyikaitsva blues takes its name from the mountain range close to where its stylistic background originates. Nyikaitsva blues refers to a select style of blues music originating from rural communities that live near the mountains or in the north of the country. It is often characterised by smooth, slick guitar and droning, repetitive and often psychedelic vocals. Nyikaitsva blues share incredible similar origins and sounds to Boual blues, native to the peoples of the Boual ka Bifie in Mabifia and Yemet.

The genre's birth was in the 1980s, and initially it was popular amongst Shuku and Njinji peoples, who adopted it into their own musical traditions. Due to linguistic and cultural isolation, Shuku Nyikaitsva is often critically considered to be the purest form of Nyikaitsva blues, having remained relatively untouched by northern and domestic musical trends. Chewa Nyikaitsva is by far the most commercially successful variant, having experienced a cultural boom in the mid-2000s as Euclean and Asterian producers oversaw the creation and promotion of some of Nyikaitsva's most well-known artists, including Kaswatu Kabili and Komaniso. Kabili's use of autotune on the electric guitar is often viewed as revolutionary for the genre.

File:Turnstile Band.jpg

Tourniquet, Garambura's most commercially successful punk band.

Punk rock

When punk rock began to become popular in Estmere and Gaullica, the first punk rock bands began to emerge amongst Chennois bands who regularly travelled between Gaullica and Garambura. Punkesque vocals had been pioneered independently by Chloe Kolisi and her spat of popularity as one of the faces of djeli pop in the 1970s, but punk as a genre was influenced almost entirely by its Euclean counterparts. As such, punk in Garambura has often been criticised for its disproportionately white makeup, a trend that has continued into the modern day.

Popular punk bands in Garambura include Izono, LMDTY and Tourniquet.

Euclovision Song Contest

Main article: Euclovision Song Contest

Garambura has participated in the Euclovision Song Contest since its addition in 1999, winning once in 2006. Financial difficulties caused the ensuing contest to be held as a joint production between Garambura and Gaullica in Verlois.

Year	Song	Artist	Points	Place
1999	Temps génial	Lifa Khuyameni	39	26th
2000	Dans un monde réel	Fallou Mogotsi	63	20th
2001	Cocorico	Karame Hy	88	9th
2002	Bonde	Musafare Isheanasu Kumbula Roméo Mazet	30	28th
2003	Bonjour, mon ami	Zvinomwe	150	2nd
2004	Atudée	Clotaire Jobé	77	13th
2005	Ntawha	Ukuvuselelwa kweNtlalo	35	23rd
2006	Amidinine	Komaniso	168	1st
2007	État de salut	Mustafa Khosi	72	19th
2008	Coulibaly	Gédéon and Ivoire	59	22nd
2009	Margarita	À cheval	46	24th
2010	Frère	Rossi Isheanasu Kumbula	77	17th
2011	Flamme froide	Thandiwe Siwele	51	21st
2012	Guns of Bouley / Armes de Boulée	Bruno Souro	102	8th
2013	Suffisant	Célèbre blasée	74	16th
2014	Les cerises	Ilonna Bourcier	90	12th
2015	Suzanna	Les étoiles et la lune	151	2nd
2016	Saïada	BCUC	104	7th
2017	Kadodi	Rituel quotidien	53	20th
2018	Pilulesdeculture	Louis Cissokho	91	12th
2019	Amant	Tama Gucci	79	15th
2020	Quand vas tu rentrer?	Olivia Le Sueur	80	14th
2021	Kérosène	Tamai XXX Anna Ndir	57	22nd