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Dans le contexte musical il est utilisé pour inviter à la danse. Quelles sont les recommandations pour personnels fragiles face au virus Coronavirus Covid? Quelles sont les modalités de continuité pédagogique au sein des internats ouverts hébergeant des élèves? Ensemble, ils déclinent localement les consignes nationales. All of the recordings were made live in the Radio Douala studios with one microphone running into a Nagra, with engineer Samuel Mpoual at the controls I tried to track down Mr.

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Grâce à la toute puissante "Radio Léopoldville", la rumba était la musique extérieure la plus diffusée au Cameroun. Les phrasées de guitare dans le Makossa notamment s'inspirent des phrasées de la Rumba congolaise.

Pendant les années de colonisation allemande et française, l'idéal de beaucoup est de devenir un assimilé, donc de se dégager des scories du tribal pur. Des guitaristes qui ont " voyagé " reviennent de Guinée Equatoriale petit paris et des deux Congo avec des notions de Rumba Epée d'or etc.

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D'autres rythmes ont eu un très grand impact sur le Makossa. Le makossa est donc un syncrétisme de différents rythmes et influences.

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Ainsi en combinant ces différents rythmes avec des danses populaires,des groupes tels que les Negro-Style, Uvocot Jazz Union des voix côtières , Rythmic Band et Los Calvinos avec à leurs têtes, Lobé Rameau, Mouelle Guillaume, Ebanda Manfred, Nellé Eyoum ont contribué à installer le makossa comme un style musical standard.

Le Makossa originel s'est par la suite diversifié et s'est adapté aux rythmes en vogue au fil des époques. C'est ainsi que vers la fin des années 60?

C'est Manu Dibango qui ouvre la voie en avec son "Soul makossa " qui sera un succès planétaire et fera connaître le makossa aux yeux du monde. For example, what exactly do you call the popular musics of the two Congos? Does the term Rumba refer to all of the popular musics of the last six decades, or does it only refer to the sung verses before the sebene, or both?

Does the name Soukous mean anything to music fans in both Congos? About a month ago I started going through a set of reels that Radio Doula gave us back in and a large stack of Cameroonian vinyl, and the more I listened especially to the recordings of one Jean Bikoko Aladin the more I yearned for taxonomic clarity and a deeper knowledge of Assiko.

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Now, several weeks of phone calls and interviews later, here is what I learned about Cameroonian Assiko music and especially about the gifted Jean Bikoko Aladin.

Today, to speak of Assiko music in Cameroon is to speak of the music of the Bassa people from Southern Cameroon. Assiko, like so much of 20th century African music is a syncretic form; it developed, probably over one hundred years ago, when the acoustic guitar, first brought to Cameroon by Portuguese sailors, was married to the Ngola rhythm of the Bassa.

Over the first half of the 20th century Assiko music was the rhythm of celebrations throughout Bassa country, performed by guitar players who traveled the Assiko circuit that took them to Eséka, Mésondo and Edéa, and through all of the villages in between, with detours to the Bassa neighborhoods of Douala.

These migrant guitar players, accompanied by a percussionist keeping the pulse on a glass bottle beat with two iron rods, kept Bassa audiences dancing late into the night. And it was on this circuit, performing his way through the villages of Bassa land, that Jean Bikoko Aladin cut his teeth. He was born around his actual date of birth is unknown in a village not far from Eséka.

After a few years of elementary school at the Catholic Mission in Eséka, Jean Bikoko left his family to find work, and while still in his mid-teens was hired as a cook and servant for a logger in the forest village of Bonepoupa, located 65 miles northwest of Eséka.

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It was in Bonepoupa that Jean Bikoko first tried his hand at the guitar, building his own rudimentary instrument out of bamboo and bark, and studying the techniques of local guitar players Albert Dikoumé and Hiag Henri. From Bonepoupa, Jean Bikoko moved to Songmbenguè, a neighborhood on the outskirts of Edéa, where he hauled cinderblocks on construction sites during the day, and entertained at night with his guitar. And fate did, when not too long after his arrival he met Alexandre Ekong, a guitar player who performed regularly on Radio Douala.

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Within a short time his Assiko rhythm was a listener favorite. The label would release 75 Jean Bikoko Aladin singles; Africambiance also released singles by Anne-Marie Nzié, and a variety of modern and traditional groups from throughout Cameroon.

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With the revenue from his many singles and residencies at several of the most prestigious nightclubs in Douala and Edéa, the s were a prosperous decade for Jean Bikoko. In , still flush with cash, Jean Bikoko opened his own hotel and restaurant in his hometown of Eséka. Although Jean Bikoko would make a few recordings over the next two decades, with notably a few hits in the s, his time in the limelight had come to an end.

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By the time Noé Ndjebet Massoussi went looking for Jean Bikoko Aladin in Eséka, in , the Assiko legend was trying to keep the power from getting cut to his now rundown bar where he still played on weekends the hotel and restaurant he built in burnt down decades ago. The last half-dozen years have seen, however, the resurgence of Jean Bikoko Aladin his fretboard wizardry earned him the Aladin nickname.