When Sadrak and the Sassene brothers (Evindi and Sundjah) decided to form Negrissim’ in 1995, little did they know that they’d created what would become one of Cameroon’s most influential pioneering hip hop crews, which would later win accolades from Senegal to France. Sometime later, Boudor joined the group and in 2000 they released their
Negrissim’s Long Awaited Afrofuturist Comeback Read More »
As far back as 1995, SadraK (a member of Negrissim’) stood out as a musician whose experimental lyrics and wordplay inspired a whole generation, and Negrissim’s album Appelle Ta Grand-Mère, released in 2000 solidified the group’s position as pioneers of Cameroonian hip hop. Two decades later— after a sojourn in Europe and Senegal, during which
Les Z’animals by SadraK Read More »
Dzekashu MacViban Stone Karim at the Institut Français de Haïti Writing for Culture Ebene in 2012, Tatla Mbetbo’s piece “Le slam camer est stone” (Cameroonian spoken word is Stone) reads more like a “revenge narrative” rather than a journalistic piece. The piece, which humbly acknowledges Stone Karim’s contribution to the evolution of spoken word in
Culture Ebene, Stone Karim and a Revenge Narrative Read More »
Dzekashu MacViban As a latecomer to the Cameroonian musical scene, hip-hop has been on a gradual but steady rise in an over-congested milieu where, according to Kangsen Feka Wakai, “for at least two decades, it would play fifth fiddle to Soukous, Makossa (in all its apparitions), Bikutsi, and Bend-skin.” This change is due to a
Afrikan Luv Unapologetically Flaunts its African-[ness] Read More »
A shorter version of this article was originally commissioned by the Goethe-Institut and published on www.goethe.de Dzekashu MacViban Black Alice. Photo Credit: Black Alice For many years, spoken word in Cameroon was like the anecdotal man with the iron mask— faceless and denied recognition as it played second fiddle to other forms of art
The Spoken Word Scene in Cameroon: From Poetry to Poetography Read More »
