Cameroon: bikutsi, a musical rhythm that loses its roots in the face of modernism

#Other countries : The bikutsi is one of the most danceable musical rhythms in Cameroon. Coming from the people of the forest, it imposed itself in all regions of the country before asserting itself internationally. But the bikutsi unfortunately seems to lose its bearings because of new technologies.

In the beginning were handclaps and stampings that usually accompanied sung or hummed monologues. This work was performed by women of the Beti ethnic group identified in the regions of central and southern Cameroon. It was a way for them to recount the frustrations, disappointments and other pains they faced on a daily basis, because at that time, women did not have the right to make claims in public.

They then met in the evening and formed a circle where each entered in turn to castigate the failings of society. The other women took over in chorus and the atmosphere was good-natured. From village to village, this rhythm was known and had taken the name of “bii kut si” which literally means “let’s hit the ground”. This is how bikutsi was born, this musical rhythm that has become famous throughout the world.

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A musical style which was therefore revealed in the 1970s following the movement of African showbiz, and particularly in countries such as Kenya, Congo Kinshasa and Brazzaville or even Côte d’Ivoire. Songwriters like Abakuya, Ange Ebogo, Anne-Marie Nzié, Zanzibar and Gilbratar Drakus to name a few will have contributed to its expansion from the start. Then came the generation of artists like Little Prince, Mbarga Soukous, Messi Martin, Ntodo Sitony and Bisso Solo, who also brought their particular touch to make this rhythm more poignant.

The next generation is the current one, which makes “rain and good weather”, according to many music lovers encountered in the streets of Yaoundé. For the majority, this is the generation where simple computer applications have replaced musical instruments. Worse still, the songs no longer convey messages unlike those of the good era.

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“Young people today don’t know anything about music. They spend their time singing below the belt and that’s why their works don’t last more than three months”, is the observation made by a man apparently in his 70s. For him, it is important that censorship returns to the publication of musical works because current works negatively influence the education of young children.

As for them, young people maintain that each era has its realities and that the world generally adapts to what nature presents to it. Nevertheless, it should be noted that not all bikutsi rhythm musicians are doomed. Some stand out and impose themselves thanks to their style.