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===Early development=== Makossa developed, expanded and evolved into one of the most popular and ubiquitous modern music genres in Cameroon.<ref name="RaDio2-FuTure1-AfriCa2" /> Its influence shaped and altered the musical discourse in the country for more than half a century, so much so that its reach expanded far beyond the nation's borders to other parts of West and Central Africa. It is the rhizomic evolutionary offshoot of the musical confluence arising from the colonial era and its revolutionary relationship between the West and [[sub-Saharan Africa]] in the 18th century.<ref name="RaDio2-FuTure1-AfriCa2" /> Along with this came variegated cultural ideas and expressions, intellectual concepts, religious values, as well as radical and disruptive new technologies from [[Europe]] that were at the presence of African societies.<ref name="RaDio2-FuTure1-AfriCa2" /> The outcome was a plethora of newer musical forms and modes of expression along the coast of [[West Africa|West]] and [[Central Africa]]. Like the [[Kru people]] of [[Sierra Leone]] and [[Liberia]], business people, migrant workers, travelers, and musicians who were from the [[French Congo]] also brought along another stream of music with them to Douala.<ref name="RaDio2-FuTure1-AfriCa2" /> This junction between "old Africa and a new world of modernity" produced new auditory and visual frontiers.<ref name="RaDio2-FuTure1-AfriCa2" /> It allowed for a sensory experiential interface which culminated into a wide array of artistic and contemporary forms in West and Central African previously unheard before. It was out of this milieu that makossa would emerge, in one which was being revolutionized by new experimental and experiential realms which would revolutionize the entire continent.<ref name="RaDio2-FuTure1-AfriCa2" /> Makossa originated when Nelle Eyoum combined Douala [[ambasse bey]], Bassa [[assiko]], and Ghanaian and Nigerian [[highlife]] and shouted exclamations to stimulate dancing by children in the 1950s.<ref name="l'Harmattan" />
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