With over 200 ethnic groups, various migration waves and a complex colonial history, Cameroon is the quintessential cultural pot pourri. Check out the sights, sounds and tastes that make our nation.
A CULTURE COLONISED
A national culture was first formed by external powers through colonisation. But regional cultural differences persisted. A sentiment of common national identity is particularly strong in major institutions of socialisation such as in schools and during international football matches, visits by foreign dignitaries, and times of international dispute.
MANY FACES ONE NATION
Ahmadou Ahidjo, a Muslim from the northern city of Guider, who was president from independence until 1982, attempted to foster national integration by posting civil servants to areas outside their ethnic homelands.
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Cameroon has distinct regional cultural, religious, and political traditions as well as ethnic variety. The division of the country into British- and French-ruled League of Nations mandates after World War I created Anglophone and Francophone regions. The English-speaking region comprises the Southwest and Northwest provinces, where Pidgin English (Wes Cos) is the lingua franca and English is taught in school. The educational system and legal practices are British-orientated.
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The French-speaking region consists of the remaining eight provinces, where French is the lingua franca, the French educational system is used, and the legal system is based on the statutory law of continental Europe.
CUSTOMS & TRADITIONS
The English-speaking region is divided into two cultural regions. The Grassfields people of the Northwest Province consist of nearly one hundred chiefdoms each ruled by a divine king (Fon). Most of these chiefdoms have patrilineal or dual descent kinship systems, although some groups, such as the Kom, are matrilineal. Polygyny and fertility are important cultural values, although this varies by wealth and education. The social organization and culture of the Grassfielders are closely related to those of the French-speaking Bamiléké peoples of the Western province.
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The peoples of the Southwest province include the Bakweri, who live along the slopes of Mount Cameroon. The Bakweri practice rites of healing and initiation in associations of spirit mediums that distinguish between male and female roles and between village and bush.
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In the French-speaking area, the largely Muslim north is culturally distinct from the largely Christian and animist south. The northern area includes three provinces: Adamawa, North, and Extreme North. Since an Islamic Jihad in 1804 the northern region has been culturally dominated by the Fulani.
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Urban Fulani are renowned as clerics in the Sunni branch of Islam. Most Fulani are cattle herders. An important subgroup is the Bororo'en. The are noted for the size of their cattle herds. With their Hausa colleagues, they engage in long-distance trade involving cattle. Other northern ethnic groups include the Mandara, Kokoto, and Arab Choa. They are famous cotton and millet producers.
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Most of the southern peoples are Christian or engage in traditional, animist religious practices. The Center, South, and East provinces are characterized by dense tropical rain forest and are dominated by the Beti who share a heritage with the Beti-Pahuin tribes the Republic of Congo, Equatorial Guinea, Gabon and Sao Tome and Principe. These patrilineal people grow root crops and peanuts for their own consumption, and cocoa as a cash crop.
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People in the East include the Maka and Gbaya, both with relatively egalitarian forms of social organisation in which reciprocity is a key value. Forestry and tobacco farming are important sources of income. The East province is also home to the Baka, a tropical forest forager (pygmy) group of about thirty thousand to forty thousand living in small camps that exchange forest products with nearby farmers.
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The Littoral province is in the coastal rain forest region in the southwest. It includes the port and musically prolific city of Douala. Perhaps the most famous Duala is Emmanuel Njoke Dibango aka Manu Dibango.
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The southern part of the French-speaking area includes the high plateau region of the West province, which includes the Bamiléké and Bamoun people. Both are culturally similar to the Grassfielders. In rich volcanic soils the Bamilékés grow food crops and coffee. Famous for their entrepreneurial and intellectual prowess, they served as a labour reserve population in the twentieth century.
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Since the conversion of Sultan Njoya to Islam early in the twentieth century, the Bamoun have been a largely Muslim people. Sultan Njoya, a man of unusual intellect, developed an original alphabet and wrote a history of his people and dynasty. The Bamoun civilisation was almost annihilated be French hostility. It now enjoys a rejuvenation which plans to teach the alphabet in schools.
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Despite the importance of ethnic identity, a sense of a common national culture has been created through shared history, schooling, national holidays, symbols, and an intoxicating enthusiasm for football.
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ARCHITECTURE
Architecture varies by region. In the rain forest and the Grassfields, poto-poto (earthen plaster on a wooden frame) and mud brick rectangular buildings roofed in palm thatch or corrugated iron are common.
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Traditional Grassfields architecture was constructed of "bamboo" (the spines of raffia palm fronds); square or rectangular buildings with sliding doors were topped by conical thatched roofs. The doorposts of royalty had elaborate carvings.
The Bana Chief's House
A house in the Far North
A Maka House in Abong Mbang
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Traditional structural design in the north includes round mud buildings crowned in thatch. Walled compounds usually include a separate granary. The Mandara architectural style is based on amazing mathematical fractals. Find out more about the fascinating system on:
http://www.ted.com/talks/ron_eglash_on_african_fractals.html
Mankon Palace, Mankon
St Engelbert Cathedral, Limbe
Sultan of Foumban's Palace
The Schloss Lodge, Buea
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Throughout the nation, structures built of concrete bricks, corrugated iron roofs, and iron grillwork have replaced other forms of housing.
Perhaps, one of the most famous historic buildings in Cameroon is the Royal Palace at Foumban (picture as above).
The influence of Colonial architecture can still be seen, for instance in the coastal town of Limbe (as above). Bamenda’s Up Station also sports German-constructed brick buildings.
MUSIC
Some of the most popular music styles genres in Cameroon include Makossa, Bikutsi, Assiko, Ambasse Bey, Mangambeu. Makossa developed in Douala and mixes folk music,
soul, and
Congolese music. Performers such as
Manu Dibango,
Francis Bebey,
Moni Bilé, and
Petit-Pays popularised the style worldwide in the 1970s and 1980s. Bikutsi originated as war music among the Ewondo. Artists such as
Anne-Marie Nzié developed it into a popular dance music beginning in the 1940s, and performers such
Les Têtes Brulées popularised it internationally from the 1960s to the 1980s. Some of these artists went on to influence other western artists. However, the cross-pollination took place in both directions: western popular music adopted elements of Cameroonian (African) music, while Cameroonian artists adopted elements (particularly the studio techniques) of western music. During the 1980s, the different styles and genres listed had a chance to develop and proliferate around the world and artists like Manu Dibango and Tala Andre Marie rightly seized that opportunity.
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The songs I’ve chosen were popular had a radically distinctive originality and great international acclaim. These artists help put Cameroon on the map just like Roger Miller made our Indomitable Lions the talk of the century. Every one of these tracks is compelling, each with a different rhythm and unique feel.
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1. Ndedi Eyango – “You Must Calculate”“You Must Calculate” was Prince Eyango’s first and still is his biggest hit to-date. The track was released in 1987 and became so popular he was awarded "best artist of the year" by the Minister of Culture at the time. He moved to the US in 1993 where he still resides, producing many talents over the years, including Longue Longue, Papa Zoe and Jacky Kingue. The best part is probably in the last quarter of the song where he sings an irresistibly infectious chorus which has everyone dancing in a typical Douala style… ‘Bala-teh’. This is could be considered an All Time Best Cameroonian track and I have spoken to many people about this before but no one seems to know exactly why this song is still highly viable and fashionable to this day. As a DJ, there’s no better pleasure than seeing a crowd respond to your music and this song always does the job all the time. If you want to get all nostalgic, watch the video here
http://www.youtube.com/watch?v=O8KN9OcixR0**********************************************************
2. Manu Dibango - “Soul Makossa”Cameroon has been a long-time and significant contributor to world popular music culture and as long as the above statement remains true, Manu Dibango, our beloved saxophonist, will always be linked to that revolution. He is (like they say), the BIG Boss of them all. “Soul Makossa” which was a blend between Makossa and American Soul was released in 1973 and to the surprise of many; became a mammoth hit in Europe and America. To-date, Michael Jackson (wanna be startin something, 1983), Rihanna (please don’t stop the music, 2008) and many more have borrowed a very popular line from the song…” Mama say mama sa, Ma ma makosa”. Recording in New York, Lagos, Abidjan, Paris and in Kingston Jamaica, made Manu more popular and earned him international acclaim. Cameroon will forever be remembered because of Ambassador’s like Manu Dibango. Watch the track here:
http://www.youtube.com/watch?v=PmWTLDlj6SQ ***********************************************************
3. Richard Bona – “Te Dikalo”This song is from his debut album, "Scenes of My Life", released in 1999. The album in general, revealed Bona's gift for melody. Te dikalo registered as a hit due to its catchy fusion of jazz, pop and African rhythms. In his songwriting Bona evoked personal themes such as his faith in Jesus and the emotions he had experienced while awaiting the birth of his child. In 2001, the LA Time wrote about Bona: "Imagine an artist with Jaco Pastorious's virtuosity, George Benson's vocal fluidity, Joao Gilberto's sense of song and harmony, all mixed up with African culture. Ladies and gentlemen, we bring you Richard Bona!" - Los Angeles Times 2001. Watch the track here:
http://www.youtube.com/watch?v=PVw5dToihM4***********************************************************
4. Petit-Pays – “Houssa”A.K.A Avocat defenseur des femmes, Turbo, Omega, and of recent, Rabi Rabi. Petit Pays is one of my all time favourites and the most celebrated Cameroonian musicians of the late '80s and '90s.” Houssa” was released in 1987 and immediately registered as a hit especially in neighbouring Nigeria, Equatorial Guinea and Congo where Makossa is still much loved to-date. A social issue he raises in the song is violence, especially against women. Women are Princesses and Queens and so they should be treated. This track rocks. Watch the video here
http://www.youtube.com/watch?v=rWjZ0Iscw-w ***********************************************************
5. Lapiro De Mbanga – “Mimba we”Pierre Roger Lambo Sandjo aka Lapiro continues to highlight the corruption within the Cameroonian government through his music whilst putting his life at risk in the process. No Cameroonian artist has been arrested or monitored by the government as much as Lapiro. The latest was in March this year, when the government, represented by the Ministry of Finance, took him to court claiming one of his songs, ‘Constitutional Constipation’, had incited employees of a banana plantation in his hometown leading to the destruction of the banana plantations. He denotes hope and courage: hope that things will get better one day, and the courage to speak freely and openly in condemnation of our government’s roguish ways. In this track, he simply reminds ‘the government’ to think of the people. Parents are struggling but still can’t afford tuition for their kids. He also makes reference to the fact that some are so hungry they look like “Samples from Ethiopian”; referring to the famine which hit Ethiopia in 1984.
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6. Tala Andre Marie – “Ye Nontema”Now we’re off to Bandjoun, West Cameroon, home of Tala Andre Marie. The drum beats, balafon and xylophone used in this song made it unique. It was also one of the first songs from the Western Province to hit out screens. Other hits by Tala Andre include "Sikati" and "Potaksima". He was also a victim of plagiarism (like Manu Dibango) when James Brown liked his demo (Hot Koki) so much that he released it as his own in his single ‘Hustle’. Tala sued him, won, and eventually released the album in 1973. This again goes to show how Cameroonian artist in a very unique way, played a great role in world music.
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7. Prince Nico Mbarga – “Sweet Mother”His music was hugely inspired by the five years he spent in Cameroon (where his Father was born), having fled from Nigeria during the civil war. Sweet Mother was recorded in 1976 and was his most significant hit, selling 13 million copies world wide. It is still a hit today and a song of choice amongst many Cameroonians and Nigerians especially when commemorating Mothers’ Day. Listen to the track again at
www.lewato.co.uk/player and believe me, you’ll have an urge to talk to your Mom; wherever she might be.
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8. Sam Fan Thomas – “Nelson Mandela”S F Thomas with this track truly deserves to be in the top 10. Not only did he popularise Cameroonian music, he pioneered a new genre of music which became known as ‘Makassi’. With this very up-beat, loud, clear and emotionally charged song, he helped make the world aware of the genocide which was taking place in South Africa by the Apartheid government. Say “Non Non to Apartheid” was the message. I was just a child then but watching the video again almost roused a sense of anger and animosity in me; a feeling which should never be evoked in any of us. "African Typic Collection" and “Neng Makassi” were also international hits for S F T. Watch the video here
http://www.bonaberi.com/tv,sam_fan_thomas_-_mandela,287.html *************************************************************
9. Les Têtes Brulées – “Bikutsi non stop”These guys were known for their distinctive costumes, outrageous but yet ‘cool’ hair-do, for painting their faces and bodies and most important, for their hyped-up Bikutsi rhythms which geared towards rock. The younger generation of Cameroonians probably know Atebas as the leader of the band; but he only took over from Zanzibar (one of the founding members) after he passed away in 1988. They toured a lot around Africa, Europe, Japan and the U.S. and in their own small way, helped bring Cameroonian music to an international audience.
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10. Kotto Bass – “Edith”This was a banging tune and still resonates well amongst Cameroonians and neighbouring countries. He was a very gifted bass player and his music was a fusion of Makossa and Soukous. He introduced Martial Bongo (who is now a successful artist in his own right) in this track. What was amazing at the time was the choreography. Sakis was the only artist on our screens with such dancing moves at the time. Watch the video here
http://www.youtube.com/watch?v=SIV4-XWj7wQ *************************************************************
Stay Tuned, Dennis Angafor aka DJ Lewat
LITERATURE
Known for their oral literature including poetry, history, stories, legends, proverbs, magic formulas, and riddles, the Fulani have been found to contribute greatly to the literature of Cameroon.
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Modern African literature has been endowed with works of Ewondo and Douala authors. Educated and encouraged by European missionary societies many authors like Louis-Marie Pouka and Sanke Maimo have advocated and praised colonialism and assimilation into European culture. Post World War II, however, colonialism was analyzed and criticized by writers such as Mongo Beti, Ferdinand Oyono, and others and assimilation rejected. In The post colonialism and problems of an African identity and development were issues much prevalent in the works of Beti and others post 1960.
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Similar themes were taken up by film makers like Jean-Paul Ngassa and Therèse Sita-Bella post independence. Later in the mid 70's conflicts between traditional and post colonial society were highlighted in the works of filmmakers such as Dikongué Pipa and Daniel Kamwa .
LITERARY CLASSICS
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NEW WRITING
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CLASSIC CAMER FILMS
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NEW FILM
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KEY FACTS
Flag: 3 equal vertical stripes of Green, Red & Yellow with a 5 pointed gold star in the centre of the red stripe.
Symbol of Flag: Green = Rainforest, Red = Laterite soils of the Savanna, Yellow = Sands of the Sahel
National Anthem: Chant de Ralliement or The Rallying Song. The music was composed by René Djam Afame, who also wrote the words along with Samuel Minkio Bamba and Moïse Nyatte Nko'o. Revised lyrics were translated to English by Bernard Nsokika Fonlon
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Sources:
Video clip courtesy of Technology, Entertainment, Design (TED):
You like? Well come back tomorrow...we will feed you some more!
Stay sweet
Dulce
xxx
