Editing Makossa (section)

=== Ethnogenesis ===

==== Assiko ====
[[Assiko]] is a music genre that is found in the [[Littoral Region (Cameroon)|Littoral]], [[Centre Region (Cameroon)|Centre]], [[South Region (Cameroon)|South]], and [[Northwest Region (Cameroon)|North-West Regions]] of [[Cameroon]].<ref name="l'Harmattan" /> Its many forms are due to the fact that at each region corresponds a particular form of assiko, that is to say a rhythm, a [[Harmony|harmonic]] and [[Melody|melodic]] course of action as well as a specific orchestration. It is thus that we distinguish a hard assiko, "muscular", rapid and lilting like [[Bassa people (Cameroon)|Bassa]] Assiko and [[Eton people|Eton]] Assiko; a cool assiko like [[Bulu people|Bulu]] Assiko; and the "Bottle dance" of the [[Northwest Region (Cameroon)|North-West Region]]. However, whether it is Bassa, Eton, Bulu, or from the North-West, assiko has a standard organology, namely the usage of the sound of the bottle as idiophone for percussion, to the point of bringing the violinist Jean-Luc Ponty to call it the "Bottle-bop".<ref name="l'Harmattan" />

The specific mode that is of interest is Bassa Assiko because of its influence on makossa.<ref name="l'Harmattan" /> In effect, it is characterized by an accelerated rhythm, syncopated particularly rapid and jerky. The solo guitar is very predominant as well as the percussion. It is important to note that the [[Lead guitar|solo guitar]] plays diverse roles of [[accompaniment]] and of successive chorus sandwiched with singing. With attentive listening, makossa is a slowed-down assiko. Certain works of Nkotti Francois unveil with eloquence this influencce of assiko; for example the song, "Mintoa Mintutu". A conflict has by the way opposed the [[guitar]]-[[arranger]], [[author]]-[[composer]]-[[Music producer|producer]] Toto Guillaume and the assiko [[artist]] Jean Bikoko Aladin around the song "Dibena", which won the Disque D'Or in 1982. Jean Bikoko Aladin had accused Toto Guillaume of having plagiarized by slowing down the tempo, his song "Samedi Soir".<ref name="l'Harmattan" />

'''Essewe''' 

Essewe is a traditional Sawa dance which traditionally was practiced at [[Funeral|funerary]] gatherings as a dance that is rooted as a [[psychotherapeutic]] dance.<ref name="l'Harmattan" /> The vocation was to "exorcise" the sorrow and pain of having lost a dear one. A way to "cure" through and via methods of [[dance]] and sung lyrics which were to morally "rearm" and [[psychologically]] balance the family in the funeral. This includes the partners, ascendants, descendants, collaterals, etc.<ref name="l'Harmattan" /> 

'''Bolobo''' 

Bolobo is a genre that is similar to [[mangambeu]] as well as [[bikutsi]].<ref name="l'Harmattan" /> It is a dance of rejoicing and of the Duala people. It is practiced both in broad daylight and at night. It is a dance used as a test of initiation to sexual life as well as marital life. It has literature which has inspired makossa pioneers.<ref name="l'Harmattan" /> 

'''Sociopolitical context''' 

The emergence of makossa is historically [[Contemporary history|contemporary]] to the [[Cameroon War|fight for independence]].<ref name="l'Harmattan" /> The emerging indigenous elite was crossed by the breath of an independence solidly leaned on the desire of cultural sovereignty. A manner of returning to the sources maintained by the current of the [[Négritude|negritude]], racial activism and black American politics. The departure of colonists passed as well by way of the [[decolonization]] of a [[cultural space]] and music dominated by the [[waltz]], [[Jerk (dance)|jerk]], [[Twist (dance)|twist]], and [[classical music]]. Moreover, the creation of places dedicated to relaxation such as the famous "palm wine bars" - where people consumed the following local alcohol: "bilibili", "kwata [[beer]]" [[Raffia palm#Raffia wine|raphia]] wine, and "arki" indigenous [[Whisky|whiskey]] - offered local musicians a frame of expression. Light formations (a guitarist, a percussionist, and voices), played traditional tunes. The availability of electricity and musical equipment, popular balls known as "bol", and the begins of urban prostitution are as many elements which constituted the [[embryogenesis]] of typical Cameroonian music in general and makossa music in particular.<ref name="l'Harmattan" /> 

In total, makossa has a traditional [[Rhythm|rhythmic]] substrate which served as a ramp of launch for the construction of its identity.<ref name="l'Harmattan" />