Music of Cameroon in 1980s

During the 1980’s makossa had move to Paris and recent pop makossa that bounded elements of Antillean zouk, the renounced musicians from that time include Moni Bile, Douleur, Bebe Manga, Ben Decca, Petit Pays and Esa.

source of picture: www.journalducameroun.com

The 80s also had an increase in development of Cameroon’s media which saw a prosperous of both makossa and bikutsi. In 1980, L’Equipe Nationale de Makossa was created joining the biggest makossa stars of the time together with Grace Decca, Ndedi Eyango, Ben Decca, Guy Lobe Dina Bell. Makossa in the 80s saw a wave of mainstream success over Africa and to a lesser degree abroad as Latin power, Martinican zouk and pop music changed its way. Thus, makossa enjoyed international fame, bikutsi was often degraded as the music of beats and it did not appeal over ethnic lines and into urban places. Musicians tried to add invention, however, the improved recording technique; Nkondo Si Tony for instant added keyboards and synthesizers while Elanga Maurice added brass instruments, Les Veterans appeared as the most popular bikusti orchestra in the 80’s while other renown performers are Titans de Sangmelima, Seba geroges, Ange Ebogo Emerent, Otheo and Mekongo President, who added difficult harmonies and jazz powers.

In the 1984 a new wave of bikutsi artists appeared, including Sala Bekono, who is formerly of Los Camaroes, Atenbass, a bassist, and Zanzibar a guitarist who would eventually help make Les Tetes Brulee with Jean Marie Ahande.

Jean Marie Ahanda became the most powerful bikutsi performer of the late 1080’s and he rebel the genre in 1987 after forming Les Tetes Brulees, his success changed the Cameroonian music industry. The group played a very famous form of bikutsi that allowed for greater depth and variety. The 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 the past musicians. Le Tetees Brulees appeared as a reaction against; pop makossa which was said to have stopped its roots in favour of mainstream of success. The group’s image was part of its success and they became known for their shaved heads and multi coloured body painting done to represent the traditional Beti scarification, as well as torn t-shirt that indirect a common folk-ness in difference to the well styled pop makossa players of the time. They also wore the backpacks on stage a reference to Beti women’s traditional way of carrying babies while they danced bikutsi.