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diversity. Guitarist
Zanzibar added foam rubber to the bridge of his guitar, which made the instrument sound more like a balafon than before, and was more aggressive and innovative than previous musicians. Les TĂȘtes BrulĂ©es emerged as a reaction against pop-makossa, which was seen as abandoning its roots in favor of mainstream success. The band's image was part of its success, and they became known for their shaved heads and multi-colored body painting, done to represent traditional Beti scarification, as well as torn T-shirts that implied a common folkness in contrast to the well-styled pop-makossa performers of the period. They also wore backpacks on stage, a reference to Beti women's traditional method of carrying babies while they danced bikutsi.
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847:, whose 1972 single "Soul Makossa" was an international hit. Outside of Africa, Dibango and makossa were only briefly popular, but the genre has produced several pan-African superstars through the 1970s, 1980s and 1990s. Following Dibango, a wave of musicians electrified makossa in an attempt at making it more accessible outside of Cameroon. Another pop singer in 1970s Cameroon was André-Marie Tala, a blind singer who had a pair of hits with "Sikati" and "Potaksima."
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symbol for
Cameroonian identity in the face of colonialism. Balafon orchestras, consisting of 3-5 balafons and various percussion instruments (including the balafon, which is both a harmonic and percussive instrument) became common in the bars. Some of these orchestras, such as Richard Band de Zoetele, became quite popular in spite of scorn from the European elite.
939:, and pop music changed its form. While makossa enjoyed international renown, bikutsi was often denigrated as the music of savages, and it did not appeal across ethnic lines and into urban areas. Musicians continued to add innovations, however, and improved recording techniques; Nkondo Si Tony, for example, added
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In 1993, the Pedalé movement was born as a reaction to the
Cameroonian economic slump. Youthful artists like Gibraltar Drakuss, Zele le Bombardier, Eboue Chaleur, Pasto, Roger Bekono, Mbarga Soukous, and Saint-Desiré Atango was a return to the aggressive, earthy sound of bikutsi roots. Meanwhile,
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Jean-Marie Ahanda became the most influential bikutsi performer of the late 1980s, and he revolutionized the genre in 1987 after forming Les TĂȘtes BrulĂ©es, whose success changed the
Cameroonian music industry. The band played an extremely popular form of bikutsi that allowed for greater depth and
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The urbanization of
Cameroon has had a major influence on the country's music. Migration to the city of Yaoundé, for example, was a major cause for the popularization of bikutsi music. During the 1950s, bars sprang up across the city to accommodate the influx of new inhabitants and soon became a
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is used during these ceremonies by Beti storytellers, who are viewed as using the mvet as an instrument of God to educate the people. The Ekang phase is intensely musical and usually lasts all night. There are poetic recitations accompanied by clapping and dancing, with interludes for improvised
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Messi's style was immediately popular, and his hits, like "Mengalla
Maurice" and "Bekono Nga N'Konda," became radio favorites throughout the country beginning in the early 1960s. Further innovations followed, as Messi replaced the handclaps and sanza with a synthesizer and the foot-stamping 6/8
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Balafon orchestras had remained popular throughout the 1950s in Yaoundé's bar scene, but the audience demanded modernity, and the popular style at the time was unable to cope. Messi Martin was a
Cameroonian guitarist who had been inspired to learn the instrument by listening to
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These female choruses are an integral part of bikutsi, and their intense dancing and screams are characteristic of the genre. Another type of ceremony is the mevungu, when women dance all night to abstain from sex during those hours for a period of nine days. The
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and 1994 in the United States. A new wave of bikutsi artists arose in the early 1990s, including Les
Martiens (formed by Les TĂȘtes BrulĂ©es bassist Atebass) and the sexually themed roots-singer Katino Ateba ("Ascenseur: le secret de l'homme") and
1093:, whose music incorporated, amongst others, bikutsi and makossa, began to release albums which met international success. He went on to tour Europe and North America. The most recent form of Cameroonian popular music is a fusion of Congolese
691:). These interludes signal the shift to the bikutsi phase which is much less strictly structured than Ekang. During bikutsi, women dance and sing along with the balafon, and lyrics focus on real-life problems, as well as sexual fantasies.
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The 1980s also saw rapid development of
Cameroon's media which saw a flourishing of both makossa and bikutsi. In 1980, L'Equipe Nationale de Makossa was formed, joining the biggest makossa stars of the period together, including,
947:. Les Veterans emerged as the most famous bikutsi group in the 1980s while other prominent performers included Titans de Sangmelima, Seba Georges, Ange Ebogo Emerent, Otheo and Mekongo President, who added complex harmonies and
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singer Sissi Dipoko ("Bikut-si Hit") as well as a resurgence of old performers like Sala Bekono. Bikutsi's international renown continued to grow, and the song "Proof" from
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In 1984, a new wave of bikutsi artists emerged, including Sala Bekono formerly of Los
Camaroes, Atebass, a bassist, and Zanzibar, a guitarist who would eventually help form
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781:. Sung by women, bikutsi featured sexually explicit lyrics and songs about everyday problems. In a popularized form, bikutsi gained mainstream success in the 1950s.
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Nkolo, Jean-Victor and Graeme Ewens. "Music of a Small Continent". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.),
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surpass previous artists in international popularity though their reaction at home was mixed. Many listeners did not like their mellow, almost
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Les TĂȘtes BrulĂ©es remained the country's most well known musical export, especially after accompanying the Cameroonian
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It took only a few weeks for Les TĂȘtes BrulĂ©es to knock makossa off the Cameroonian charts, and the band even toured
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was perhaps the most important of the early innovators. The next bikutsi performer of legendary stature was
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are known for a kind of singing called "Ngoso" which has evolved into a kind of modern music accompanied by
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ritual is much-feared by Beti boys as it involves a series of tests to mark a boy's passage into manhood.
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album, introducing many North American listeners to the wide range of instrumentation and genres.
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music, which has been popularized and become a rival for the more urban and accessible makossa of
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in five regional-cultural divisions. An estimated 38% of the population are Western highlandersâ
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includes diverse traditional and modern musical genres. The best-known contemporary genre is
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network that did much to help popularize Cameroonian popular music across the country.
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and the first major Cameroonian hit, "N'Gon Abo," set the stage for the development of
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expanded the lyrical format of the genre to include socio-political issues. Tours of
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developed and became the most popular genre in Cameroon. Makossa is a type of
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celebrations in Bali, Cameroon, around 1908. Four men play on holy
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also contributed guitar arrangements and performance to Simon's
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553:. The southern tropical forest peoples (18%) include the
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769:. Bikutsi is based on a war rhythm played with various
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World Music, Vol. 1: Africa, Europe and the Middle East
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also brought bikutsi to new audiences, especially in
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French National Library. Accessed November 25, 2010.
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in the mid-1980s), and an urban street music called
958:with Jean-Marie Ahanda. 1985 saw the formation of
727:music were common, with performers like Lobe Lobe,
606:) form an estimated 14% of Cameroonians, while the
893:. Prominent musicians from this period included
854:and found controversy over pornographic lyrics.
739:. Post-independence in 1960, a local variant on
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653:Beti gatherings fall into two major categories:
1142:, pp 440â447. Rough Guides Ltd, Penguin Books.
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401:, a popular style that has gained fans across
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731:, and Nelle Eyoum finding a local audience.
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1163:Audio clips: Traditional music of Cameroon.
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1097:and makossa, a scene which has produced
886:and a new pop-makossa fused elements of
646:. The name can be loosely translated as
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1127:List of musical instruments of Cameroon
719:, the most developed city in Cameroon,
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442:List of musical instruments of Cameroon
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862:. The following decade, however, saw
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882:By the 1980s, makossa had moved to
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1178:Cameroon - The Baka Music House.
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504:Problems playing this file? See
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648:beating the ground continuously
525:or grassfielders including the
1166:Musée d'ethnographie de GenÚve
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1168:. Accessed November 25, 2010.
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96:List of musical instruments
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1450:Sierra Leone
1264:
1255:Burkina Faso
1139:
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1050:team to the
1045:
1022:
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1009:Claire Denis
988:
978:
972:
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951:influences.
930:Ndedi Eyango
922:
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856:Mama Ohandja
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845:Manu Dibango
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1512:recognition
1465:South Sudan
1355:Ivory Coast
1160:(in French)
1083:world music
1054:in 1990 in
926:Grace Decca
906: [
897:, Douleur,
841:dance music
725:ambasse bey
687:(a type of
658:Ekang phase
555:Beti-Pahuin
416:sailors of
74:Ambasse bey
1567:(Portugal)
1525:Somaliland
1445:Seychelles
1410:Mozambique
1395:Mauritania
1380:Madagascar
1335:The Gambia
1270:Cape Verde
1133:References
1099:Petit Pays
1065:Paul Simon
1013:Man No Run
1003:, and the
964:television
934:Martinican
914:Petit-Pays
899:Bébé Manga
820:rhythm to
761:folk music
721:accordions
523:Semi-Bantu
506:media help
253:Literature
1400:Mauritius
1111:mangambeu
1107:Bend-skin
1052:World Cup
1041:bend-skin
1029:bantowbol
1025:Congolese
989:Hot Heads
980:Hot Heads
941:keyboards
903:Ben Decca
895:Moni Bilé
888:Antillean
779:xylophone
709:pop music
689:xylophone
551:southwest
539:northwest
298:Monuments
225:Mythology
218:Languages
107:Mangambeu
79:Bend-skin
69:Bantowbol
65:New rumba
61:Bend-skin
1618:Category
1591: /
1587: /
1580:(France)
1574: /
1552: /
1548: /
1500:Zimbabwe
1475:Tanzania
1325:Ethiopia
1320:Eswatini
1300:Djibouti
1265:Cameroon
1250:Botswana
1121:See also
676:calabash
527:Bamileke
239:Religion
178:a series
176:Part of
102:Tsamassi
1576:RĂ©union
1572:Mayotte
1563:Madeira
1558:(Spain)
1554:Melilla
1485:Tunisia
1455:Somalia
1440:Senegal
1425:Nigeria
1415:Namibia
1405:Morocco
1370:Liberia
1365:Lesotho
1315:Eritrea
1285:Comoros
1260:Burundi
1235:Algeria
1115:makassi
1095:soukous
1011:' film
872:Yaoundé
834:makossa
811:Zairean
771:rattles
766:bikutsi
763:called
743:called
737:makossa
713:chanson
685:balafon
640:bikutsi
632:Yaoundé
574:pygmies
426:balafon
414:pirogue
407:bikutsi
399:makossa
318:Symbols
232:Cuisine
204:History
41:Bikutsi
36:Makossa
1595:
1578:
1565:
1495:Zambia
1490:Uganda
1430:Rwanda
1385:Malawi
1345:Guinea
1240:Angola
1146:
1113:, and
1061:Douala
1048:soccer
1033:nganja
1001:Europe
997:Africa
975:France
916:, and
860:Europe
809:, and
745:assiko
717:Douala
715:. In
644:Douala
612:Chadic
586:French
582:Fulani
561:, the
418:Douala
403:Africa
278:Cinema
211:People
180:on the
56:Nganja
51:Assiko
28:Genres
1550:Ceuta
1470:Sudan
1420:Niger
1375:Libya
1360:Kenya
1340:Ghana
1330:Gabon
1305:Egypt
1245:Benin
1056:Italy
1019:1990s
993:Japan
910:]
884:Paris
878:1980s
838:funky
828:1970s
822:drums
814:rumba
807:Cuban
775:drums
674:with
608:Kirdi
604:FulÉe
595:Peuhl
578:Sahel
547:Duala
543:Bassa
535:Tikar
531:Bamum
422:zanza
289:Sport
270:Media
260:Music
1480:Togo
1390:Mali
1280:Chad
1144:ISBN
962:, a
960:CRTV
949:jazz
937:zouk
891:zouk
777:and
773:and
723:and
680:mvet
672:harp
628:Beti
626:The
622:Beti
614:and
600:Fula
590:Peul
571:Baka
567:Njem
565:and
563:Maka
559:Fang
513:The
494:lela
455:lela
451:Lela
412:The
393:The
325:Flag
46:Mvet
1067:'s
987:.
918:Esa
697:sso
592:or
246:Art
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985:CD
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