The Zouglou of Ivory Coast (notice n° 688013)

détails MARC
000 -LEADER
fixed length control field 01480cam a2200157 4500500
005 - DATE AND TIME OF LATEST TRANSACTION
control field 20250121205300.0
041 ## - LANGUAGE CODE
Language code of text/sound track or separate title fre
042 ## - AUTHENTICATION CODE
Authentication code dc
100 10 - MAIN ENTRY--PERSONAL NAME
Personal name Kadi, Germain-Arsène
Relator term author
245 00 - TITLE STATEMENT
Title The Zouglou of Ivory Coast
260 ## - PUBLICATION, DISTRIBUTION, ETC.
Date of publication, distribution, etc. 2015.<br/>
500 ## - GENERAL NOTE
General note 91
520 ## - SUMMARY, ETC.
Summary, etc. Since the 1960 generation of Pierre Amédée to the generation of « coupé-décalé » in the 2000s, the Ivorian urban music stood out for their eclecticism and a certain profusion of genres. Except for Ernesto Djedjé’s ziglibithy (1977-1982), no Ivorian genre has succeeded in establishing beyond the Ivorian borders before the emergence of zouglou music. Since the release of the album Gboglo Koffi in 1991, zouglou, originally a students’ protest music, has become the main Ivorian urban music and one of the most popular genres in Francophone African space. It is also becoming one of the African urban music most listened in France. More than its share inking, this dynamics of zouglou music is the result of strong support of the media and the opening will of its iconic figures like Magic System, Espoir 2000, Les Garagistes, to the other fashionable urban music (RnB, rai, reggae, zouk, etc.). This universalization effort of Ivorian artists made of zouglou the representative of a new kind of world music.
786 0# - DATA SOURCE ENTRY
Note Diogenes | o 246-247 | 2 | 2015-06-05 | p. 204-221 | 0419-1633
856 41 - ELECTRONIC LOCATION AND ACCESS
Uniform Resource Identifier <a href="https://shs.cairn.info/journal-diogene-2014-2-page-204?lang=en&redirect-ssocas=7080">https://shs.cairn.info/journal-diogene-2014-2-page-204?lang=en&redirect-ssocas=7080</a>

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