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.
Traditional dances follow strict choreography and segregate dancers based on age, occupation, sex, social status, and other factors. Some dances require special costumes and props such as masks or fans. Professional dancers make a living among some ethnic groups, and other professionals perform at national festivals and for tourists. Popular dance, wherein men and women dance together, is found in Cameroon's bars, nightclubs, and private parties. This style is closely tied with popular music, such as makossa, bikutsi, highlife, and hip hop. Dancing is an important avenue of social protest and political rallying in the country.
Under Cameroon's colonial-era governments, German, British, and French regimes banned dances that they deemed a threat to their primacy. Meanwhile, Christian missionaries discouraged all kinds of dancing and forbade dances that they felt represented paganism or offended Christian sensibilities. Many of these dances have since died out. [1] Other dances were forgotten when the rituals associated with them were outlawed for similar reasons. [2]
Nevertheless, traditional dance persisted. People continued to practice dances for purely social purposes or adapted them to Christian worship. [2] Dancing in church became increasingly common as evangelical Christianity gained popularity and Cameroonian priests and pastors replaced Americans and Europeans. [3] After Cameroon gained independence in 1960, the government recognised traditional dance as an integral part of the nation's culture, [4] and non-governmental organisations promoted its preservation. [5] Some villages enroll children in dance groups to teach them about their culture and native dances. [6]
Cameroon is home to more than 200 different traditional dances. [7] Dance is part of most ceremonies and rituals. Such dances accompany births, christenings, weddings, and funerals [5] and invoke the spirits of ancestors to cure the ill or increase fertility. [8] The Bamileke perform war dances, for example, and the motio of the southwest incorporates the slaying of a goat with a single blow to demonstrate the dancers' prowess. [7] The Baka dance the luma to celebrate a successful hunt. [9] Among some groups, dancers work themselves into a trance and communicate with the spirit world. [5] For example, members of the ntsham society of the Kaka people in Cameroon's northwest dance to bring about spiritual possession. [10]
Typically, traditional dances follow certain restrictions. Most traditional dances segregate participants according to sex. For example, women and men may form concentric same-sex circles, or they may dance in separate areas. [11] Among various fondoms in the Cameroon grassfields, nobles and commoners may not participate in the same dances. [12] Likewise, traditional laws severely restrict the dancing of the fon's wives and daughters, often restricting them to the palace. [4]
Some dances are intended only for a specific class of people, such as hunters, jesters, or warriors. Among some ethnic groups, professional dancers make their living performing dances at the appropriate ceremonies. [4] In some villages, a diviner dances as part of his or her duties. [6] In modern times, such traditional dance professionals are rare. Instead, professional dancers live in urban centres and perform for tourists or at national festivals. [4]
Many traditional Cameroonian dances follow strict choreography, although improvisation is common. [8] Dancers move different parts of the body independently, focusing motion on more than one area. Dances are often associated with specific regalia or props. Traditional objects used include leather fans and small pieces of cloth. [6] In the grasslands, masks are common. [4] The gourna of the Tupuri incorporates long sticks that dancers carry upright in a circle. [7]
Popular dance is within the purview of urban bars, nightclubs, and private parties, although it has grown more popular in rural areas. DJs provide the music as dancers move about and drink beer or palm wine. [3] Unlike traditional dances, popular dancing allows the sexes to mingle. [4] Cameroon's most popular native musical genres, bikutsi and makossa, are styles of dance music. [13] Cameroon has imported a number of popular dances from abroad, including the maringa from Ghana in the 1850s, the ashiko from Nigeria in the 1920s, and the abele from Nigeria more recently. [14] Popular non-Cameroonian dance music includes Nigerian highlife and American hip-hop. [13] In 2000, the government of the Southwest Province banned mapouka, a dance imported from Côte d'Ivoire, for its sexual nature. [7] European dance, such as ballet, is popular among wealthy urban Cameroonians. [15]
Dance has become an important vehicle of social commentary and political protest. While the popular press can be muzzled by the government, dancers in the street are freer to express their discontent with—or support for—government policies or political parties. Opponents of Cameroon's first president, Ahmadou Ahidjo, danced to show their disapproval. [16] Other popular dances commemorate historical events from Cameroonian history. [5]
Cameroon, officially the Republic of Cameroon, is a country in Central Africa. It shares boundaries with Nigeria to the west and north, Chad to the northeast, the Central African Republic to the east, and Equatorial Guinea, Gabon and the Republic of the Congo to the south. Its coastline lies on the Bight of Biafra, part of the Gulf of Guinea and the Atlantic Ocean. Due to its strategic position at the crossroads between West Africa and Central Africa, it has been categorized as being in both camps. Its nearly 27 million people speak 250 native languages, in addition to the national tongues of English and French, or both.
Given the vastness of the African continent, its music is diverse, with regions and nations having many distinct musical traditions. African music includes the genres amapiano, jùjú, fuji, afrobeat, highlife, Congolese rumba, soukous, ndombolo, makossa, kizomba, and others. African music also uses a large variety of instruments across the continent. The music and dance of the African diaspora, formed to varying degrees on African musical traditions, include American music like Dixieland jazz, blues, jazz, and many Caribbean genres, such as calypso and soca. Latin American music genres such as cumbia, salsa music, son cubano, rumba, conga, bomba, samba and zouk were founded on the music of enslaved Africans, and have in turn influenced African popular music.
Highlife is a music genre that started in West Africa, along the coastal cities of present-day Ghana in the 19th century, during its history as a colony of the British and through its trade routes in coastal areas. It describes multiple local fusions of African metre and western jazz melodies. It uses the melodic and main rhythmic structures of traditional African music, but is typically played with Western instruments. Highlife is characterized by jazzy horns and guitars which lead the band and its use of the two-finger plucking guitar style that is typical of African music. Recently it has acquired an uptempo, synth-driven sound.
Makossa is a music genre originating in Douala, Littoral Region, French Cameroons in the late 19th 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 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.
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.
The Hausa are one of the largest ethnic groups in Nigeria, Niger, Ghana, Sudan, Cameroon and in many other West and Central African countries. Their folk music has played an important part in the development of Nigerian music, contributing such elements as the Goje, a one-stringed fiddle. There are two broad categories of traditional Hausa music: rural folk music and urban court music. They introduced the African pop culture genre that is still popular today.
Les Têtes Brulées are a Cameroonian band known for a pop version of the bikutsi dance music. Their name literally means the burnt heads in French, but more likely is meant to imply mindblown or hotheads, although founder Jean-Marie Ahanda prefers the translation "burnt minds".
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.
Nico Mbarga, better known as Prince Nico Mbarga, was a Cameroonian-Nigerian highlife musician, born to a Nigerian mother and a Cameroonian father in Abakaliki, Nigeria. He is renowned for his hit song "Sweet Mother", recorded with his band Rocafil Jazz, which has been described as the best-selling song in history by an African recording artist.
Prince Eyango is a Cameroonian singer, guitar player, songwriter, performer, and record producer. Popularly known as KING MOUAN NKUM, Le Roi Des Montages is the 3rd child of Eyango family. He made his professional debut in 1983. By 1986 Ndedi Eyango developed a musical style merging both pop and traditional Cameroonian Makossa music. The son of a pastor, Ndedi Eyango sings in French, Pidgin English, Douala, and Mbo'o languages. His biggest hit, "You Must Calculer" won best song of the year in 1987, best selling album of the year and Eyango won the Cameroonian "Best Artist of the Year Award".
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