{"id":129633,"date":"2025-02-28T10:00:00","date_gmt":"2025-02-28T08:00:00","guid":{"rendered":"https:\/\/pan-african-music.com\/biama-enfant-terrible-coupe-decale\/"},"modified":"2025-02-28T13:28:44","modified_gmt":"2025-02-28T11:28:44","slug":"biama-enfant-terrible-coupe-decale","status":"publish","type":"post","link":"https:\/\/pan-african-music.com\/en\/biama-enfant-terrible-coupe-decale\/","title":{"rendered":"Biama and coup\u00e9-d\u00e9cal\u00e9\u2019s new young villains\u00a0\u00a0"},"content":{"rendered":"\n<p class=\"has-drop-cap\">In Abidjan&#8217;s Nouveau Quartier de Yopougon, the most densely populated district in Ivory Coast\u2019s economic heartland, young people beat boredom with music and dance. Here, the clatter of cargo loaders mixes with the sounds of coup\u00e9-d\u00e9cal\u00e9 blasted from maquis (Ivory Coast\u2019s famous open-air bars and clubs). It\u2019s the soundtrack of a neighborhood that is trying, with difficulty, to modernize. Where they\u2019re ahead of the curve; teenagers with their noses in their smartphones, checking out the latest dance challenges on social networks. Last June, it was the challenge to \u201c<a href=\"http:\/\/In Abidjan's Nouveau Quartier de Yopougon, the most densely populated district in Ivory Coast\u2019s economic heartland, young people beat boredom with music and dance. Here, the clatter of cargo loaders mixes with the sounds of coup\u00e9-d\u00e9cal\u00e9 blasted from maquis (Ivory Coast\u2019s famous open-air bars and clubs). It\u2019s the soundtrack of a neighborhood that is trying, with difficulty, to modernize. Where they\u2019re ahead of the curve; teenagers with their noses in their smartphones, checking out the latest dance challenges on social networks. Last June, it was the challenge to \u201cLa la la\u201d by Zadi The King that captured everyone\u2019s attention, and laid out the format for biama\u2019s success.\" target=\"_blank\" rel=\"noreferrer noopener\">La la la<\/a>\u201d by Zadi The King that captured everyone\u2019s attention, and laid out the format for biama\u2019s success.\u00a0<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong><strong>The metaphysics of a hit<\/strong><\/strong><\/p>\n\n\n\n<p>One minute of frenetic choreography has racked up over 250,000 views on TikTok in just three weeks. The seventeen-year-old artist&#8217;s goal? To test the popularity of a potential hit before deciding to release it. This is the third song stamped \u201cbiama\u201d, a sub-genre of coup\u00e9-d\u00e9cal\u00e9, that Zadi the King has released using this strategy, which consists of publishing 30 to 60 seconds of a song, accompanied by the choreography of a \u201cdance challenge\u201d. For \u201cPythagore 2 golaba\u201d, released in autumn 2023, the strategy was successful, racking up over 200,000 views on TikTok the week of its release. His second hit, \u201c<a href=\"https:\/\/www.youtube.com\/watch?v=mzdGem3Kn8o\" target=\"_blank\" rel=\"noreferrer noopener\">Bossu<\/a>\u201d, was released a month later, surpassing one million views on TikTok the month of the release and now has nearly four times more on YouTube.<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-embed alignwide is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Zadi The King - Bossu (clip officiel)\" width=\"500\" height=\"281\" data-src=\"https:\/\/www.youtube.com\/embed\/mzdGem3Kn8o?feature=oembed&#038;enablejsapi=1&#038;origin=https:\/\/pan-african-music.com&#038;autoplay=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>&#8220;<em>I was surprised by the success of \u2018Bossu\u2019. Before this hit, I was nobody. From one day to the next, thousands of people were dancing to my music,\u201d<\/em> confides the 17 year old artist, who became the \u201dking&#8221; of the Nouveau Quartier de Yopougon, even before he came of age. As viral as it is on social media, biama is also the new musical sensation of the streets and dancefloors of Abidjan.<\/p>\n\n\n\n<p>For some, the word \u201cbiama\u201d refers to a Nouchi expression for criticism or gossip. For others, it&#8217;s an attitude, conquering and being resilient in the face of adversity. Online, fans associate the term with being light-hearted, distracted, or giving back. If the origins of the word biama are unclear, the ingredients of its success aren\u2019t.<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong><strong>The dance of the immature<\/strong><\/strong><\/p>\n\n\n\n<p>Started as early as 2017 by singer Safarel Obiang and his track \u201cManger-chier\u201d, biama became a viral sensation in 2021 after Kalo Maman, a teenager from Yopougon, posted one of his dance videos. In his challenge \u201c<a href=\"https:\/\/www.youtube.com\/watch?v=mRTjpi8OqvA\" target=\"_blank\" rel=\"noreferrer noopener\">calculatrice 2 fois 2<\/a>\u201d, he outlined the style of the movement, and its precise response to the beat. Then, the duo Team2 Poy amplified the phenomenon with their songs \u201c<a href=\"https:\/\/www.youtube.com\/watch?v=apnoxVY1bO4\" target=\"_blank\" rel=\"noreferrer noopener\">Dora dance<\/a>\u201d and \u201c<a href=\"https:\/\/www.youtube.com\/watch?v=8BhdC4fvkvk\" target=\"_blank\" rel=\"noreferrer noopener\">Maman match\u00f4tch\u00f4<\/a>\u201d. In just a few years, the genre has taken the Ivorian web by storm, and conquered the ears of very young listeners.<\/p>\n\n\n\n<p>What makes biama special is that \u201c<em>it&#8217;s faster music, with a bpm that can easily flirt with 160, unlike classic coup\u00e9-d\u00e9cal\u00e9, which rarely exceeds 140<\/em>\u201d, explains producer Emmanuel, composer of Zadi the King\u2019s three hits, from his small, brightly-colored studio in Yopougon. \u201c<em>It&#8217;s the dance of the immature,<\/em>\u201d sums up Kalo Maman in his celebratory video that launched the genre. For singers and dancers, this vibe is above all an extension of coup\u00e9-d\u00e9cal\u00e9, an off-center way of executing steps, with ultra-singular gimmicks and grimaces. The pelvis still undulates in the original style, but arm and foot movements are jerky and frenetic. It\u2019s a new way of vibrating to the beat, which allows young fans of the genre to free themselves from the shadow of coup\u00e9-d\u00e9cal\u00e9\u2019s pioneers, while paying them tribute.<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image alignwide size-large\"><img decoding=\"async\" width=\"1010\" height=\"1515\" src=\"https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/01\/SAMEDI-6-JUILLET-BATtLE-BIAMA-PARRAIN-RAMSES-TIKAYA-26-copy-1-1010x1515.jpg\" alt=\"\" class=\"wp-image-129462\" srcset=\"https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/01\/SAMEDI-6-JUILLET-BATtLE-BIAMA-PARRAIN-RAMSES-TIKAYA-26-copy-1-1010x1515.jpg 1010w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/01\/SAMEDI-6-JUILLET-BATtLE-BIAMA-PARRAIN-RAMSES-TIKAYA-26-copy-1-759x1139.jpg 759w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/01\/SAMEDI-6-JUILLET-BATtLE-BIAMA-PARRAIN-RAMSES-TIKAYA-26-copy-1-2048x3072.jpg 2048w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/01\/SAMEDI-6-JUILLET-BATtLE-BIAMA-PARRAIN-RAMSES-TIKAYA-26-copy-1.jpg 4160w\" sizes=\"(min-width:1010px) 759px,100vw\" loading=\"lazy\" \/><figcaption class=\"wp-element-caption\">Biama battle organised by Ramses Tikaya \u00a9 NGuessan-Zoukou Annick<\/figcaption><\/figure>\n\n\n\n<div style=\"height:49px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong><strong>Resurrecting coup\u00e9-d\u00e9cal\u00e9<\/strong><\/strong><\/p>\n\n\n\n<p>Since the deaths of <a href=\"https:\/\/pan-african-music.com\/douk-saga-president-coupe-decale\/\">Douk Saga<\/a>, who passed away in 2006, and his successor <a href=\"https:\/\/pan-african-music.com\/a-abidjan-sidiki-diabate-offre-a-dj-arafat-son-disque-de-platine\/\">DJ Arafat<\/a>, who died in 2019, Ivory Coast\u2019s coup\u00e9-d\u00e9cal\u00e9 scene has been looking for an heir. Together they have put Ivory Coast on the map for the African music scene. Arafat and Douk Saga embodied their music, and waved the banner of coup\u00e9-d\u00e9cal\u00e9 proudly; a sonic explosion born of the Ivorian diaspora in France in the early 2000s. Since then, the genre has been exported all over the world. And now, the turbulent biama has emerged in the wake of Abidjan&#8217;s club culture.<\/p>\n\n\n\n<p>The offspring borrows many of its parent&#8217;s norms. First and foremost, the use of \u201catalaku\u201d; vocal tributes to well known personalities, local figures or simple buddies. Adopted from Congolese rumba, these shout-outs, largely reappropriated by Ivorian coup\u00e9-d\u00e9cal\u00e9 singers, are heard throughout biama tracks.<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong><strong>Made to dance<\/strong><\/strong><\/p>\n\n\n\n<p>Another common element is the presence of the illustrious <a href=\"https:\/\/pan-african-music.com\/en\/roukaskas-wreaks-havoc\/\" target=\"_blank\" rel=\"noreferrer noopener\">roukaskas<\/a>, the acrobatic dance invented by Ordinateur, the dancer of the late DJ Arafat. But this coup\u00e9-d\u00e9cal\u00e9 2.0 is distinguished from its ancestor by its improbable speed of execution. \u201c<em>Biama is music inspired by dancers,<\/em>\u201d adds producer Emmanuel. &#8220;<em>We compose as much for them as for the audience.<\/em> <em>We try to anticipate how the dancers might move to the music, at what moments, for example, they might accelerate.<\/em>&#8220;<\/p>\n\n\n\n<p>For Zadi the King, &#8220;<em>biama has resurrected coup\u00e9-d\u00e9cal\u00e9. Before its emergence, coup\u00e9-d\u00e9cal\u00e9 was at a standstill. Biama brought a different color, a different hue, a second wind.<\/em>&#8221; As for Dydy Yeman, another heavyweight of the movement: &#8220;<em>biama has taken a unique turn. It&#8217;s an ultra-positive, sometimes childlike state of mind, which consists in having fun, without thinking about your worries!<\/em>&#8220;<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image alignfull size-large\"><img decoding=\"async\" width=\"1010\" height=\"673\" src=\"https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/PHOTO-11-JUIN-2024-ITW-ROMA-CHIYAYA_8269-copy-1010x673.jpg\" alt=\"\" class=\"wp-image-129546\" srcset=\"https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/PHOTO-11-JUIN-2024-ITW-ROMA-CHIYAYA_8269-copy-1010x673.jpg 1010w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/PHOTO-11-JUIN-2024-ITW-ROMA-CHIYAYA_8269-copy-759x506.jpg 759w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/PHOTO-11-JUIN-2024-ITW-ROMA-CHIYAYA_8269-copy-2048x1365.jpg 2048w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/PHOTO-11-JUIN-2024-ITW-ROMA-CHIYAYA_8269-copy-1440x960.jpg 1440w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/PHOTO-11-JUIN-2024-ITW-ROMA-CHIYAYA_8269-copy-661x441.jpg 661w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/PHOTO-11-JUIN-2024-ITW-ROMA-CHIYAYA_8269-copy-465x310.jpg 465w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/PHOTO-11-JUIN-2024-ITW-ROMA-CHIYAYA_8269-copy-375x250.jpg 375w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/PHOTO-11-JUIN-2024-ITW-ROMA-CHIYAYA_8269-copy.jpg 6000w\" sizes=\"(min-width:1010px) 759px,100vw\" loading=\"lazy\" \/><figcaption class=\"wp-element-caption\">Biama demo with Roma Chiyaya, June 2024 \u00a9 NGuessan-Zoukou Annick<\/figcaption><\/figure>\n\n\n\n<div style=\"height:35px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong><strong>Don\u2019t trust the system<\/strong><\/strong><\/p>\n\n\n\n<p>\u201c<em>Coup\u00e9-d\u00e9cal\u00e9 was born in the wake of the socio-political movements of 2002, supplanting zouglou, another musical style born of the student strikes of the 90s,<\/em>\u201d explains Adolphe Yac\u00e9, musicologist and director of the music school at Ivory Coast\u2019s National Institute of Arts and Cultural Actions (INSAAC). For this Ivorian music expert, biama is also part of a singular social context. \u201c<em>Remember that, at the time, people interpreted coup\u00e9-d\u00e9cal\u00e9 as a rebellious genre, signalling moral decline. In reality, it was an appeal, a raw cry from a whole generation of young people struggling to find their bearings after the many crises the country had endured.<\/em>&#8220;<\/p>\n\n\n\n<p>Whereas coup\u00e9-d\u00e9cal\u00e9 was invented in <em>maquis <\/em>before spreading to clubs across the continent, biama emerged on social networks via dance challenges. Biama&#8217;s off-kilter dance steps might be interpreted as a defiance to social determinism. The choreography of the hit \u201cBossu\u201d contains this particularly transgressive social dimension. \u201c<em>Bossu means freedom in Nouchi,<\/em>&#8221; explains King Zadi. &#8220;<em>To dance to Bossu, you put your shoulders up, then come down, as if to signify that you have the ability to take care of your loved ones. You&#8217;re the one who invites your friends into the club, you&#8217;re the one who pays for everyone who wants it. You are free and you have the means to be.<\/em>\u201d<\/p>\n\n\n\n<p>&#8220;<em>Biama is a state of mind. We express our <\/em>joie de vivre<em> through our dance steps,<\/em>&#8221; says singer and dancer Roma Chihaya, who has choreographed numerous biama shows. His sidekick Azazou Satellite, self-proclaimed \u201c<em>President of all biamaseurs in Ivory Coast<\/em>\u201d, agrees; &#8220;<em>It&#8217;s coup\u00e9-d\u00e9cal\u00e9 2.0. It&#8217;s the expression of the new generation.<\/em>&#8221; The two biamasseurs confide that they are increasingly called upon to create choreography and artistic direction for video clips. They are keen to promote the flow of Yopougon by involving young dancers from their neighborhood in these videos. Azazou Satellite&#8217;s track \u201cLa Machette\u201d is one of the hottest biama dance challenges in Abidjan. But now, Yopougon is too small a territory for the genre: Dydy Yeman&#8217;s banger \u201cLa Pression\u201d has surpassed 13 million views on YouTube and he has just returned from a mini-tour of France: two dates in Paris and one in Lyon, where the artist from the Maroc district of Yopougon played to a full house.<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong><strong>The Ivorian genre in orbit<\/strong><\/strong><\/p>\n\n\n\n<p>Biama has spread far beyond the borders of Yopougon, and has carved out a place for itself on the playlists of parties in the trendy neighborhoods of Cocody, Marcory and Zone 4. The track \u201c<a href=\"https:\/\/www.youtube.com\/watch?v=Ugwsr58B-W0\" target=\"_blank\" rel=\"noreferrer noopener\">Biama de Cocody<\/a>\u201d by rapper Blackiller, featuring one of the members of Team2Poy, is a perfect example. Artists from the ma\u00efmouna genre, a slower, trap-inspired derivative of ivory rap, play on top of biama productions, as does Team Paiya member Ste Milano.<\/p>\n\n\n\n<p>The hit &#8220;<a href=\"https:\/\/www.youtube.com\/watch?v=5zaeAcjTito\" target=\"_blank\" rel=\"noreferrer noopener\">Le Coup du Marteau<\/a>&#8221; (130 million views on YouTube) and the track &#8220;<a href=\"https:\/\/www.youtube.com\/watch?v=GRahVs8YFUA\" target=\"_blank\" rel=\"noreferrer noopener\">Fimbu<\/a>&#8221; (48 million views on YouTube), which accompanied the Ivorian national soccer team during the African Cup of Nations (CAN) 2024, perfectly incorporates the sound of biama, launching it into international orbit. \u201cFimbu\u201d, an absolute banger, opens \u201c<em>\u00c7a c&#8217;est biama, m\u00e9chant m\u00e9chant<\/em>\u201d. The unstoppable \u201cCoup du Marteau\u201d continues its ascent on streaming platforms with more than 40 million streams just on Spotify, and was certified a gold disc last April in France by the Syndicat national de l&#8217;\u00e9dition phonographique (SNEP). This track is by far the biggest Ivorian international hit in years.<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Tam Sir - Coup du marteau ft. Team Paiya, Ste Milano, Renard Barakissa, Tazeboy, PSK (Clip Officiel)\" width=\"500\" height=\"281\" data-src=\"https:\/\/www.youtube.com\/embed\/5zaeAcjTito?feature=oembed&#038;enablejsapi=1&#038;origin=https:\/\/pan-african-music.com&#038;autoplay=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>Ivorian \u201cbiamaseurs\u201d were quick to seize the opportunity of the CAN to promote the genre. To mark the occasion, Team2Poy brought together several artists under the banner \u201cCollectif Biama\u201d, including Azazou Satellite, to release \u201c<a href=\"https:\/\/www.youtube.com\/watch?v=PoFuoXqS-7c\" target=\"_blank\" rel=\"noreferrer noopener\">Life<\/a>\u201d at the start of the competition. The result: over 2 million views on Youtube. Biama is also making inroads on TV and radio shows, both local and national. The Ivorian press is now curious about this new movement, and doesn&#8217;t fail to invite its headliners for interviews to try and get a grip on the phenomenon. Dydy Yeman appeared last April on the NCI channel, Zadi the king went on the national RTI 1 channel \u201cC&#8217;midi\u201d two months later, and Team2Poy and singer-choreographer Azazou Satellite joined for a special biama program on the same channel in June&#8230; All have come to proclaim it loud and clear: they are the new standard-bearers of a boiling Ivorian youth.<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong><strong>A foothold in the streets<\/strong><\/strong><\/p>\n\n\n\n<p>The movement benefits from countless shares on social media, slots in nightclub playlists, and recent media coverage by the mainstream press. It also has dedicated performances &#8211; notably the \u201cChez Potter\u201d evenings in Koumassi (a commune in southern Abidjan) on Friday nights &#8211; as well as the Place Jean Paul II in Yopougon, every evening. But if biama originated in Abidjan&#8217;s working-class neighborhoods, it is first and foremost rooted in the street via dance battles. Initially informal, these competitions are now becoming increasingly structured. The aim? To bring out the most stylish dancers, who compete for the title of \u201cBest Biama Dancer\u201d and, more recently, for money, with prizes ranging from ten to one hundred thousand CFA francs (around 150 euros).<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image alignfull size-large\"><img decoding=\"async\" width=\"1010\" height=\"673\" src=\"https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/SAMEDI-6-JUILLET-BATtLE-BIAMA-PARRAIN-RAMSES-TIKAYA-120-copy-1010x673.jpg\" alt=\"\" class=\"wp-image-129544\" srcset=\"https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/SAMEDI-6-JUILLET-BATtLE-BIAMA-PARRAIN-RAMSES-TIKAYA-120-copy-1010x673.jpg 1010w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/SAMEDI-6-JUILLET-BATtLE-BIAMA-PARRAIN-RAMSES-TIKAYA-120-copy-759x506.jpg 759w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/SAMEDI-6-JUILLET-BATtLE-BIAMA-PARRAIN-RAMSES-TIKAYA-120-copy-2048x1365.jpg 2048w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/SAMEDI-6-JUILLET-BATtLE-BIAMA-PARRAIN-RAMSES-TIKAYA-120-copy-1440x960.jpg 1440w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/SAMEDI-6-JUILLET-BATtLE-BIAMA-PARRAIN-RAMSES-TIKAYA-120-copy-661x441.jpg 661w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/SAMEDI-6-JUILLET-BATtLE-BIAMA-PARRAIN-RAMSES-TIKAYA-120-copy-465x310.jpg 465w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/SAMEDI-6-JUILLET-BATtLE-BIAMA-PARRAIN-RAMSES-TIKAYA-120-copy-375x250.jpg 375w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/SAMEDI-6-JUILLET-BATtLE-BIAMA-PARRAIN-RAMSES-TIKAYA-120-copy.jpg 6240w\" sizes=\"(min-width:1010px) 759px,100vw\" loading=\"lazy\" \/><figcaption class=\"wp-element-caption\">Biama battle organised by Ramses Tikaya \u00a9 NGuessan-Zoukou Annick<\/figcaption><\/figure>\n\n\n\n<div style=\"height:35px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>Demonstrating the full range of styles of biama dancers, while creating moments of collective communion with Yopougon residents who have embraced this trend: this is the idea behind the \u201cbiama d\u00e9cal\u00e9\u201d collective, the brainchild of content creator Jamax and Mike Dizzy, the arranger for Dydy Yeman and Team2Poy. <em>\u201cWe decided to put the spotlight on biama creatives with a platform dedicated to this genre,<\/em>\u201d explains Jamax. Since March 2024, the collective has been organizing weekend battles on vacant lots or in Yopougon schoolyardswith a prize of 100,000 CFA for the winner. Performances by artists Safarel Obiang, Ramses Tikaya, Roma Chiyaya, Dydy Yeman and Azazou Satellite punctuated the festivities.<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong><strong>Biama as a DIY movement\u00a0<\/strong><\/strong><\/p>\n\n\n\n<p>Despite the numerous successes, biama&#8217;s place in the Ivorian music ecosystem remains fragile, starting with its recognition by the major record companies. For the time being, very few &#8220;biamaseurs&#8221; are featured in major label catalogs. While Team2Poy &#8211; the first group of biama artists &#8211; released its tracks on a major label, this is not the case for all artists. As for Dydy Yeman, he works independently. \u201cI<em> fight alone,<\/em>\u201d he explains. &#8220;<em>The idea is to show labels that I&#8217;m not here for fun. If a record company is interested, they have to be 200% ready, because on my own, I&#8217;ve already reached 13 million views with my track \u2018La Pression\u2019<\/em>\u201d.<\/p>\n\n\n\n<p>Zadi the King finances his music thanks to the charitable help of Ventura, a young manager of a maquis in Yopougon. Ventura &#8211; Linda Yao by name &#8211; became Zadi&#8217;s producer with no previous experience in the music business, deciding to invest in his career because she was impressed by his talent. \u201c<em>I&#8217;d never done this before, but I wanted to give it a try because I believe in him,<\/em>\u201d sums up the thirty-year-old manager. With the income from her local bar, she finances Zadi&#8217;s studio recordings. For the music videos, she waits to see the results from the demos and dance challenges on TikTok before launching into the production of the entire clip.<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image alignwide size-large\"><img decoding=\"async\" width=\"1010\" height=\"673\" src=\"https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/PHOTOS-MERCREDI-5-JUIN-2024_7682-copy-1010x673.jpg\" alt=\"\" class=\"wp-image-129551\" srcset=\"https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/PHOTOS-MERCREDI-5-JUIN-2024_7682-copy-1010x673.jpg 1010w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/PHOTOS-MERCREDI-5-JUIN-2024_7682-copy-759x506.jpg 759w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/PHOTOS-MERCREDI-5-JUIN-2024_7682-copy-2048x1365.jpg 2048w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/PHOTOS-MERCREDI-5-JUIN-2024_7682-copy-1440x960.jpg 1440w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/PHOTOS-MERCREDI-5-JUIN-2024_7682-copy-661x441.jpg 661w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/PHOTOS-MERCREDI-5-JUIN-2024_7682-copy-465x310.jpg 465w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/PHOTOS-MERCREDI-5-JUIN-2024_7682-copy-375x250.jpg 375w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/PHOTOS-MERCREDI-5-JUIN-2024_7682-copy.jpg 6000w\" sizes=\"(min-width:1010px) 759px,100vw\" loading=\"lazy\" \/><figcaption class=\"wp-element-caption\">Zadi the King&#8217;s team: Ventura, Zadi and Koffi Traor\u00e9 \u00a9 NGuessan-Zoukou Annick<\/figcaption><\/figure>\n\n\n\n<div style=\"height:35px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>Without labels, structuring is slow: Dydy Yeman and Zadi the King continuously drop EPs and singles, while waiting for the release of a first album. At Universal Music Africa, the continent&#8217;s main major label (along with its rival Sony Music), as at C2C, Ivory Coast&#8217;s leading independent label, biama artists are completely absent from the catalog.<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong>\u201cWe are the future of coup\u00e9-d\u00e9cal\u00e9\u201d<\/strong><\/p>\n\n\n\n<p>\u201c<em>We&#8217;re aware of the dimensions of the movement, we can see it rising, but for the moment we don&#8217;t have any artists categorized as 100% biama signed with us,<\/em>\u201d comments Franck-Alcide Kacou, Managing Director of Universal Music Africa. \u201c<em>It&#8217;s a phenomenon that&#8217;s growing faster than other Ivorian musical styles that have appeared in recent years, thanks to the dancing and virality of certain tracks.<\/em>\u201d But at the same time, the director points to a lack of incarnation: &#8220;<em>DJ Arafat is irreplaceable. He took coup\u00e9-d\u00e9cal\u00e9 to a new level in the pantheon of Ivorian music. Today, biama doesn&#8217;t yet have a major figure, with incredible talent, to follow in his footsteps. Is this new generation hiding an heir? I don&#8217;t know yet.<\/em>\u201d<\/p>\n\n\n\n<p>For his part, Cheikh Louis Tall, CEO of the C2C label, is following the movement from afar, waiting to see if it will take precedence over other current trends: &#8220;<em>We&#8217;ll have to wait a while before looking into it. A lot of new genres are being born, like Ivory Afrobeat with Dirty Akim, or new pop with Paulo Chakal&#8230; So we&#8217;re waiting to see which of these genres takes hold over the long term.<\/em>&#8220;<\/p>\n\n\n\n<p>Dydy Yeman sees his recent mini-tour in France as a sign that biama is gaining momentum. \u201c<em>It&#8217;s not a movement that&#8217;s going to die now,<\/em>\u201d proclaims the artist, \u201c<em>with more solidarity, I think we&#8217;ll go far.<\/em>\u201d For the biamaseurs Roma Chichaya and Azazou Satellite, \u201c<em>biama is both the past and the future of coup\u00e9-d\u00e9cal\u00e9<\/em>\u201d. As for Zadi The King&#8217;s manager, Koffi Traor\u00e9, he&#8217;s banking on the (very) young generation of biama listeners, who he sees as the guardians of this music: &#8220;<em>biama arrived at the same time as the rise of TikTok. As long as it remains dynamic on this platform, it will stay trendy. Today, children as young as two or three are fans of biama. When they grow up, they&#8217;ll be the new biama generation.<\/em>&#8220;<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image alignfull size-large\"><img decoding=\"async\" width=\"1010\" height=\"673\" src=\"https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/PHOTO-11-JUIN-2024-ITW-ROMA-CHIYAYA_8290-copy-1010x673.jpg\" alt=\"\" class=\"wp-image-129556\" srcset=\"https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/PHOTO-11-JUIN-2024-ITW-ROMA-CHIYAYA_8290-copy-1010x673.jpg 1010w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/PHOTO-11-JUIN-2024-ITW-ROMA-CHIYAYA_8290-copy-759x506.jpg 759w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/PHOTO-11-JUIN-2024-ITW-ROMA-CHIYAYA_8290-copy-2048x1365.jpg 2048w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/PHOTO-11-JUIN-2024-ITW-ROMA-CHIYAYA_8290-copy-1440x960.jpg 1440w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/PHOTO-11-JUIN-2024-ITW-ROMA-CHIYAYA_8290-copy-661x441.jpg 661w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/PHOTO-11-JUIN-2024-ITW-ROMA-CHIYAYA_8290-copy-465x310.jpg 465w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/PHOTO-11-JUIN-2024-ITW-ROMA-CHIYAYA_8290-copy-375x250.jpg 375w, https:\/\/pan-african-music-production.fra1.digitaloceanspaces.com\/wp-content\/uploads\/2025\/02\/PHOTO-11-JUIN-2024-ITW-ROMA-CHIYAYA_8290-copy.jpg 6000w\" sizes=\"(min-width:1010px) 759px,100vw\" loading=\"lazy\" \/><figcaption class=\"wp-element-caption\">Biama demo by Roma Chiyaya, June 2024 \u00a9 NGuessan-Zoukou Annick<\/figcaption><\/figure>\n\n\n\n<div style=\"height:35px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>\u201c<em>The fact that artists are basing most of their strategy on social networks can prove limiting in the long term,<\/em>\u201d comments musicologist Adolphe Yac\u00e9. For the music professor, &#8220;<em>biama players need to seize the wave of popularity they are currently enjoying to plan the next steps in the movement. For example, by creating labels and festivals dedicated to the genre, which will be able to ensure artists a career longer than the lifespan of a simple buzz.<\/em>&#8221; Otherwise, \u201c<em>when they hit rock bottom, they risk being forgotten,<\/em>\u201d warns Adolphe Yac\u00e9.<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong><strong>Bad reputations<\/strong><\/strong><\/p>\n\n\n\n<p>Another major challenge for biamasseurs is the bad reputation associated with their music. \u201cThe dance of the immature\u201d is also the dance of the \u201cbad boys\u201d. In the media and on social networks, some protest is rising alongside the success of the genre: biama is said to promote drug use. In particular Gaddafi, a powerful opioid often mixed with alcohol to increase its sedative effect. The incendiary song \u201c<a href=\"https:\/\/www.youtube.com\/watch?v=7mzSGAjjXM8\" target=\"_blank\" rel=\"noreferrer noopener\">Khadafi<\/a>\u201d by the group 100 Papo crystallizes much of this criticism.<\/p>\n\n\n\n<p>It&#8217;s not easy to establish yourself in the hearts of cultural institutions when your music is accused of pushing young people towards drugs. Jamax of the Biama D\u00e9cal\u00e9 Collective understands the concern, but tempers it. &#8220;<em>At the start of the movement, some people were irresponsible in the way they presented themselves. But that&#8217;s no longer the case. Because biama is serious business. Everyone is involved to help the movement grow.<\/em>&#8221; Dydy Yeman, for his part, dismisses the accusation laconically: \u201c<em>We&#8217;re civilized, our music isn&#8217;t synonymous with delinquency.<\/em>\u201d<\/p>\n\n\n\n<p>This bad press is compounded by fierce competition between new musical sub-genres such as ma\u00efmouna, whose lively ambassadors also intend to take the spotlight: <em>\u201cIt&#8217;s hard to say whether biama has a better chance of establishing itself and being exported than ma\u00efmouna. These are two sub-genres that are alive and will continue to live, but they will probably give rise to other sub-genres,<\/em>\u201d professes Franck-Alcide Kacou of Universal Music Africa. C2C label boss Louis Tall shares the same uncertainties about the reshaping of the urban musical landscape of Ivory Coast in the coming months: \u201c<em>Biama and ma\u00efmouna are both derivatives of coup\u00e9-d\u00e9cal\u00e9, mixed with urban sounds. It&#8217;s impossible to say which style will succeed in imposing itself over the long term on Ivorian territory.<\/em>\u201d<\/p>\n\n\n\n<p>With an aesthetic that is now well established, as well as some fine sonic chops, biama has kick-started a rather bloated Ivorian music scene, which until now has been stuck between Ivorian rap and the Christian rap of evangelist KS Bloom. Still at the mercy of the fickle musical tastes of his very young audience, the \u201cyoung villain\u201d from Yopougon is still looking for a future. For Zadi the King: \u201c<em>Nobody can predict how long this movement will last. While it lasts, we&#8217;re in it! And you know, if biama has to disappear, we&#8217;ll have made the most of it. And we&#8217;ll always be proud of having come up with another formula for coup\u00e9-d\u00e9cal\u00e9!<\/em>\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"<p>PAM takes you through the relentless breaks of the coup\u00e9-d\u00e9cal\u00e9 2.0 going viral online and distorting the faces of the country&#8217;s best dancers.\u00a0<\/p>\n","protected":false},"author":152,"featured_media":129544,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[7833,9373],"tags":[41364],"location":[7942],"yst_prominent_words":[8403,31221,8996,8993,8414,8447,8933,8435,13327,8452,23835,8543],"acf":[],"_links":{"self":[{"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/posts\/129633"}],"collection":[{"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/users\/152"}],"replies":[{"embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/comments?post=129633"}],"version-history":[{"count":0,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/posts\/129633\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/media\/129544"}],"wp:attachment":[{"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/media?parent=129633"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/categories?post=129633"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/tags?post=129633"},{"taxonomy":"location","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/location?post=129633"},{"taxonomy":"yst_prominent_words","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/yst_prominent_words?post=129633"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}