Aghi Bahi: Influence of ‘’Naija’’ Music and «Amapiano» on New Electronic Music from Côte d’Ivoire

Ataya: HUMA Interdisciplinary Seminar Series

Speaker: Aghi Bahi, CERCOM

Paper ►

Bio: Aghi BAHI is Full Professor of Anthropology of Communication in the Department of Communication Sciences and Researcher in the Center for Studies and Research in Communication (CERCOM) of the UFR Information Communication & Arts at Félix Houphouët University. Boigny (UFHB) from Abidjan in Ivory Coast. Its work focuses on three axes: “uses of information and communication technologies in Côte d’Ivoire”, “political media and public spaces in Côte d’Ivoire”, “media and popular culture”. These axes are re-examined within the framework of its Research Group in Anthropology of Communication. Books : : L’ivoirité mouvementée : Jeunes, médias et politique en Côte d’Ivoire, Langaa, 2013 ; Anthropo-logiques de la communication, Langaa, 2016 ; Il n’y a pas de crocodiles à Cocody. Anthropologie de la communication musicale en Côte d’Ivoire, Langaa, 2021 ; Heritage and Transformation of an African Popular Music, Cambridge-Elements (forthcoming 2024).

Topic: Music is a place of exchanges, mixtures and circulation of forms and genres. Afrobeats – “naija” – music has become a global movement. It is a source of inspiration and even legitimate imitation (e.g. the Chilean musical group Newen Afrobeat). However, it should be noted that (very) few French speakers in Africa seem to owe their notoriety to this musical genre. What "influence" can afrobeats-"naija" have on modern popular music and on Ivorian musical production?

The present communication, based on a previous research of long duration, wants to deepen this aspect of the musical circulation in Ivory Coast. It is supported by observations made in Abidjan from (home) recording studios, social media (and networks) and interviews with (upcoming) musicians, arrangers, producers, young DJs, music lovers.

Nigerian and Ivorian modern popular music came into contact early in postcolonial life. The song "Joromi" by Victor Uwaifo, for example, was a success relayed by Radio Côte d'Ivoire. The Ivorian musical adventure is indebted to musicians of various origins, including Nigerian musicians, some of whom sink into oblivion for lack of research resolutely turned towards this recent history and its heritage. The current phenomenal virality of afrobeats also affects the Ivorian musical community. In terms of impulse and imprint, naija music has an innovative influence, following an inevitably underground, implicit and hidden process, on new Ivorian electronic music. It appears that the influence of naija music on Ivorian musical forms is remarkable on genres such as: rap ivoire, afro-décalé, afro-trap, coupé décalé, zouglou-décalé, etc. and even « variété », in terms of source of artistic inspiration, but also of "ways of doing things" (it is less a question of "cloning", than of borrowings or mixtures), of greater professionalization, and of heightened ambition.

Under this “influence” of naija music, the rise of a more global musical movement is actually taking place: that of new electronic music from sub-Saharan Africa. It remains to be seen whether this augurs well for the rise of digitaliszation and the “take-off” of an industrialization of Ivorian popular music

How Ataya works: One presenter and their work – in exchange with the audience. Each Ataya session engages with selected work by the presenter (a text, artwork, performance, even food). The presenter introduces their work and grounds the subsequent discussion with the participants. For best engagement, we recommend participants to view the work (made available in advance on our website) before the session.