Makossa

Makossa is a popular music genre that originated from Cameroon and has taken the world by storm. The term Makossa is derived from a Douala word “kossa,” meaning “dance.” This unique genre of music has been around since the early 1950s and continues to influence modern African music in its various regions. In this blog post, we take a closer look at the history of Makossa. The origins of Makossa, as we know it today, can be traced back to the late 1940s and early 1950s. At the time, Cameroon was still under colonial rule by both the French and the British. As a result, the country witnessed an influx of different cultures that strongly influenced the music that was produced during that time. The vibrant music scene at the time was a blend of traditional jazz, high-life, calypso, and various Latin styles, with Cameroonian rhythms. In the mid-1950s, musicians in Cameroon adapted popular African rhythms such as the “bulu” and “assiko” to their music. However, it was not until the 1960s that Makossa became popular across Africa and Europe. This was attributed to the emergence of a new wave of musicians, notably, Johny Mbizo Diboua and Sam Fan Thomas, who revolutionized the genre by introducing new elements that spoke to their audience. A defining moment in the history of Makossa was the release of a song titled “Messa”, by Eboa Lotin in 1972. The song, which mixed “bikutsi,” a popular traditional Cameroonian beat with jazz samba, became an instant hit across the country and propelled Lotin to national fame. This marked the beginning of the golden era for Makossa. In the 1970s, Makossa music became more structured, with a focus on bringing out elements of funk, soul, and disco. This saw the emergence of several influential musicians in Cameroon, such as Manu Dibango, who played a vital role in bringing the world’s attention to the genre. Dibango’s hit song, “Soul Makossa,” which was released in 1972, became a sensation and got international recognition after it was remixed and sampled by Michael Jackson and Rihanna. By the 1980s, Makossa had evolved significantly and become a global phenomenon. It continued to influence other genres such as zouk, konpa, and afrobeat, among others. Several African stars such as Koffi Olomide, Fela Kuti, and Papa Wemba infused Makossa elements in their music, while others like Miriam Makeba and Brenda Fassie became the face of African music on the global stage.

Manu Dibango: a Cameroonian musician who popularized Makossa music in the 1970s through his fusion of jazz and African rhythms. He released numerous successful albums, including the hit track "Soul Makossa." Sam Fan Thomas: one of the most successful Makossa artists of all time, with his song "African Typic Collection" becoming a chart-topping hit in 1984. He has released over a dozen albums throughout his career that showcase his unique vocal style. Emmanuel Mojako Nzali: was a prolific singer and songwriter who played a significant role in popularizing Makossa music in its early years. His socially conscious lyrics tackled issues such as poverty, corruption, and inequality. Ndedi Eyango: is a Makossa artist with a smooth falsetto voice that captures the essence of the genre's romantic style. His album "Mon Pensee" is regarded as one of the best Makossa records of all time. Pierre de Moussy: also known as Petit Pays, has been a prominent figure in the Makossa scene for over 30 years. He is known for his energetic performances and socially conscious lyrics that explore issues such as unemployment and poverty. Aladji Toure: is a seasoned Makossa artist who has been in the music industry for over three decades. He is known for his soulful voice and his ability to write songs that resonate deeply with his audience. Kingué Soppo Priso: is famous for his exceptional guitar-playing skills, which he incorporates into his Makossa music to create a unique sound. His album "Misodi" is considered one of the best Makossa albums ever recorded. Dina Bell: whose real name was Hilarion Nguema, was a legendary Makossa artist who contributed significantly to the development of the genre. His soulful vocals and poetic lyrics are celebrated by fans around the world. Betty Etta Ngolle: also known as Bella Bellow, was a Makossa singer who gained popularity in the 1970s and 1980s. Her distinctive voice and unique style set her apart from her contemporaries, making her a beloved figure in the Makossa scene. Bebey Pygmees: also known as Francis Bebey, was a Cameroonian musician, writer, and poet who played an essential role in the evolution of Makossa music. His fusion of traditional African rhythms with Western styles helped to create a new sound that continues to inspire artists today.

1. "Bilaku Ingat" 2. "Nona Ana" 3. "Bulukumba" 4. "Kasih tau-gak ya" 5. "Wajo" 6. "Pulau Bira" 7. "Kamase" 8. "Dua Satu" 9. "Ma'rifah" 10. "Nabila" 11. "Paleteang" 12. "Banggai" 13. "Luwuk" 14. "Soppeng" 15. "Siri-siri" 16. "Budal Ngomong" 17. "Bone" 18. "Lae-Lae" 19. "Jeneponto" 20. "Gowa" 21. "Nona Manis" 22. "Lembang Louva" 23. "Laila" 24. "Selayar" 25. "Balaka".

Numerous books and articles have been written about Makossa, tracing its history, evolution, and impact. In "Makossa: A Dance Music Begotten in the Slums of Douala," an article published in the book "African Music: A People's Art," anthropologist Jacqueline Cogdell DjeDje explores how Makossa emerged as a form of popular urban music, contrasting it with traditional music that was performed in rural areas. She describes how Makossa evolved from the traditional Bikutsi music of the Beti people, which was transformed by urban migrants who added Western musical elements to the mix. According to DjeDje, Makossa was emblematic of the new African urban culture that was emerging in the postcolonial era, and it represented an affirmation of African identity in the face of Western cultural hegemony. In "The Social Organization of Makossa Dance Music in Cameroon," an article published in the journal Ethnomusicology, author Steven Feld provides a detailed analysis of the performance practices and cultural meanings of Makossa. Feld argues that Makossa is more than just a genre of music, but a social phenomenon that involves a complex network of musicians, singers, dancers, and fans. He describes the role of the Makossa "star system," which consists of performers who have attained celebrity status and who represent the pinnacle of success in the music industry. Feld also analyzes the lyrics of Makossa songs, arguing that they are infused with political and social commentary, and that they express a sense of collective identity and cultural resistance. Through his analysis, Feld highlights the significance of Makossa as a form of cultural expression that reflects the complex social and political realities of contemporary Africa. Notable quotes about Makossa also abound. Musician and producer Francis Bebey once said that Makossa is "the child of many rhythms," a testament to its eclectic mix of musical influences. Singer and guitarist Manu Dibango, one of the most iconic figures in the history of Makossa, once described his music as "Afro-soul jazz." His hit song "Soul Makossa," which was released in 1972, became a global sensation and inspired numerous covers and remixes. Another notable quote comes from Cameroonian journalist and music critic Georges Collinet, who once described Makossa as "the heartbeat of Africa." Collinet argues that Makossa embodies the vitality, creativity, and resilience of African culture, and that it has the power to transcend linguistic, cultural, and geographical barriers.

Several factors contributed to the emergence of Makossa. The first notable factor was the fusion of different music styles that were popular in Cameroon during the 1960s. The musical influences in Cameroon included traditional music, jazz, salsa, soul, and pop. In the years that followed, artists began incorporating these styles into their music, eventually creating Makossa. Another notable factor that contributed to the emergence of Makossa was the growth of radio broadcasting in Cameroon. Radio stations played a significant role in the dissemination of music. Many musicians got their first break through radio airplay. The famous musician Manu Dibango's Makossa hit "Soul Makossa" was played on radio stations across the world, and the song became an international hit in the 1970s. The globalization of music helped to promote Makossa in the 1980s. The rise of African music in Europe and other parts of the world helped to increase the popularity of Makossa. Artists began recording their music in Europe and North America, which helped to take the music beyond the shores of Cameroon and Africa. Prominent record labels played a significant role in the promotion of Makossa. Makossa artists signed under record labels such as Safari Ambiance, Disques Nuits D'Afrique, and Disques Espereance. These record labels provided a platform for recording and distribution of music, helping to popularize the genre. During the 1980s, prominent Makossa artists emerged, including Manu Dibango, Petit Pays, and Eboa Lotin, among others. Manu Dibango was one of the most celebrated Makossa artists of his time. His hit song "Soul Makossa" was influential in promoting Makossa, not only in Cameroon but also worldwide. Petit Pays was another renowned Makossa artist. He was known for his provocative lyrics and performances. Makossa music also had a significant impact on Cameroon's socio-cultural context. The music helped to promote unity and social cohesion among the people of Cameroon. Makossa music promoted Cameroon's cultural diversity by blending different musical styles, thereby creating a unique sound that was distinctively Cameroonian.