The Assiko is a popular dance from the South of Cameroon. It is also a music genre which is a variant of palm wine music from Sierra Leone.
Originally based in the Bassa country, this rhythmed dance takes its name from two words: ISI, changed into ASSI, which means earth or ground; and KOO meaning foot.
The Assiko is danced dressed in a simple T-shirt and a full skirt with a pronounced, billowing waistline that emphasizes hip movement.
The choreographies of Assiko use several lop-sided walks, successive small close walks that the dancers make at different heights, standing up or crouching, which makes you feel they float on the stage. There are also demonstrations of sense of balance, contortions and physical strength calling to the exhilalaration of dance or trance.
The Assiko is also a musical style. The band is usually based on a singer accompanied with a guitar, and a percussionist playing the pulsating rhythm of Assiko with metal knives and forks on an empty bottle. Double bass, drums and some brass can complete this base. Leds Jean Bikoko "Aladin is the creator of this rhythm is one of the well known assiko artist of Cameroon.
Demonstration of Assiko during the Mbog Liaa Festival
Rhythm generally means a "movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions". This general meaning of regular recurrence or pattern in time can apply to a wide variety of cyclical natural phenomena having a periodicity or frequency of anything from microseconds to several seconds ; to several minutes or hours, or, at the most extreme, even over many years.
Makossa is a music genre originating in Douala, Littoral Region, Cameroon in the late 20th century. Like much other music of Sub-Saharan Africa, it uses strong electric bass rhythms and prominent brass. Makossa uses guitar accompaniments, in the forms of solo and rhythm guitar, with a main singer and a choir of backup singers, with the focus being on the texture of the guitar, the role it plays in the song, the relationship between it and other instruments, the lyrical content and languages sung as well as their relationship with the music, the uses of various percussion instruments, including the bottle, the groove of the bass as well as the drums, and the use of technical knowledge and microprocessors to make the music. It is in common time (4/4) for the vast majority of cases. Language-wise, it is typically sung in French, Duala or Pidgin English. Tempo-wise, it is typically in between 130 and 170 BPM. It traditionally consisted of guitar-picking techniques that borrows from bikutsi; with a guitar-structure of a guitar switching from solo to rhythm from assiko; supplanted with complex bass grooves, and gradually picked up on brass section, from funk and later in the 70s, string section, from disco. It along with this acquired the sebene from Congolese rumba. In the 1980s makossa had a wave of mainstream success across Africa and to a lesser extent abroad. It is considered to be one of the greatest Cameroonian and even African "adventures" as a music.
The foxtrot is a smooth, progressive dance characterized by long, continuous flowing movements across the dance floor. It is danced to big band music. The dance is similar in its look to waltz, although the rhythm is in a 4 4 time signature instead of 3 4. Developed in the 1910s, the foxtrot reached its height of popularity in the 1930s and remains practiced today.
The music of the Cameroon includes diverse traditional and modern musical genres. The best-known contemporary genre is makossa, a popular style that has gained fans across Africa, and its related dance craze bikutsi.
A music video game, also commonly known as a music game, is a video game where the gameplay is meaningfully and often almost entirely oriented around the player's interactions with a musical score or individual songs. Music video games may take a variety of forms and are often grouped with puzzle games due to their common use of "rhythmically generated puzzles".
Rhythm game or rhythm action is a genre of music-themed action video game that challenges a player's sense of rhythm. Games in the genre typically focus on dance or the simulated performance of musical instruments, and require players to press buttons in a sequence dictated on the screen. Many rhythm games include multiplayer modes in which players compete for the highest score or cooperate as a simulated musical ensemble. Rhythm games often feature novel game controllers shaped like musical instruments such as guitars and drums to match notes while playing songs. Certain dance-based games require the player to physically dance on a mat, with pressure-sensitive pads acting as the input device.
Bikutsi is a musical genre from Cameroon. It developed from the traditional styles of the Beti, or Ewondo, people, who live around the city of Yaoundé. It was popular in the middle of the 20th century in West Africa. It is primarily dance music.
Baião is a Northeastern Brazilian music genre and dance style based on a syncopated duple meter rhythm, based around the pulse of the zabumba, a flat, double-headed bass drum played with a mallet in one hand and a stick in the other, each striking the opposite head of the drum for alternating high and low notes, frequently accompanied by an accordion and a triangle pattern. The baião rhythm is integral to the genres of forró, repente and coco. It is mostly associated with the state of Pernambuco. Baião was popularized via radio in the 1940s, reaching peak popularity in the 1950s.
African dance refers to the various dance styles of sub-Saharan Africa. These dances are closely connected with the traditional rhythms and music traditions of the region. Music and dancing is an integral part of many traditional African societies. Songs and dances facilitate teaching and promoting social values, celebrating special events and major life milestones, performing oral history and other recitations, and spiritual experiences. African dance uses the concepts of polyrhythm and total body articulation. African dances are a collective activity performed in large groups, with significant interaction between dancers and onlookers in the majority of styles.
Dabke is a Levantine folk dance, particularly popular among Lebanese, Jordanian, Palestinian, and Syrian communities. Dabke combines circle dance and line dancing and is widely performed at weddings and other joyous occasions. The line forms from right to left and the leader of the dabke heads the line, alternating between facing the audience and the other dancers.
The Ngondo is an annual water-centered festival held by the Sawa in Douala, Cameroon. The highlight of the festival is a ceremony of the jengu. The ceremony is held at a beach on Wouri Bay, during which a devotee enters the water to visit the underwater kingdom of the miengu. The miengu are believed to be similar to mermaids, and will grant good luck to their worshippers. According to tradition, the devotee can remain underwater for hours, and emerge with his clothing appearing completely dry. Children are not allowed to attend the ceremony. Ngondo was banned by the government of Cameroon in 1981, but reinstated in 1991. The ceremony is held during the first two weeks of December every year.
African-American dance is a form of dance that was created by Africans in the Diaspora, specifically the United States. It has developed within various spaces throughout African-American communities in the United States, rather than studios, schools, or companies. These dances are usually centered on folk and social dance practice, though performance dance often supplies complementary aspects to this. Placing great value on improvisation, these dances are characterized by ongoing change and development. There are a number of notable African-American modern dance companies using African-American cultural dance as an inspiration, among these are the Whitey's Lindy Hoppers, Alvin Ailey American Dance Theater, Dance Theatre of Harlem, and Katherine Dunham Company. Hollywood and Broadway have also provided opportunities for African-American artists to share their work and for the public to support them.
In many parts of sub-Saharan Africa, the use of music is not limited to entertainment: it serves a purpose to the local community and helps in the conduct of daily routines. Traditional African music supplies appropriate music and dance for work and for religious ceremonies of birth, naming, rites of passage, marriage and funerals. The beats and sounds of the drum are used in communication as well as in cultural expression.
The Bassa are a Bantu ethnic group in Cameroon. They number approximately 800,000 individuals. The Bassa speak the Basaa language.
Atna Jean Emmanuel (Manu) Njock, aka Zekuhl, is a singer, guitarist, percussionist and a songwriter of world music. He presents a Bolbo-Jazz style. He sings in Bàsàa, French and English.
Ambasse bey or ambas-i-bay is a style of folk music and dance from Cameroon. The music is based on commonly available instruments, especially guitar, with percussion provided by sticks and bottles. The music is faster-paced than assiko.
Dance in Cameroon is an integral part of the tradition, religion, and socialising of the country's people. Cameroon has more than 200 traditional dances, each associated with a different event or situation. Colonial authorities and Christian missionaries discouraged native dances as threats to security and pagan holdovers. However, after Cameroon's independence, the government recognised traditional dance as part of the nation's culture and made moves to preserve it.
The Mule was a dance fad created in 1965 by famed dance instructor Killer Joe Piro based on the earlier "Mule Walk" which was popular in the 1910s.
The Panamanian punto is a Hispanic musical genre which includes melodic and choreographic form. It has composition created specifically for dance, typically performed by a single couple as a demonstration of skill, precision and grace. Unlike the tamborito and the Panamanian cumbia, it is performed as an intermission between other dances or music at a party or event.
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