Jovi’s street anthem Et P8 Koi (So What?) shows the use of Cameroonian language in hip-hop as means of depicting identity in a globalized music industry. Jovi is known to put out “multilingual bangers” with backing tracks from various musical disciplines. The creativity in production is mirrored by his dynamic lyricism that transcends cultural and musical boundaries. He raps in French and English – languages inherited from former colonists – to “bridge the gap that exists between anglophones and francophones” in Cameroon. Note that the French and English in the song don’t entirely mirror that of Europe, but rather include Cameroonian slang and dialects – known as Camfranglais, the mix of French and English native to Cameroon – which makes the music more representative of the Cameroonian identity. Continue reading “Surprise! Another blog bout Jovi”
Stanley Ebai Enow is a Cameroonian rapper, radio and TV presenter, and voice actor. He is the co-owner of the record label, Motherland Empire.
Born in Bamenda, the capital of the Northwest Region of Cameroon, with family from Bayangi, located in the Southwest Region, Stanley Enow’s nickname “Bayangi Boy” reflects the importance regional origins for the young rapper. Coming from the two English-speaking regions of Cameroon, Stanley Enow chose to rap in Cameroonian Pidgin English and Cameroonian slang as a way to translate his culture in his music. Continue reading “When Cameroonian slang meets African Hip-Hop”
The patriarchal influence of marketing music sales leaves Askia unfettered. Her style in this music video is a mixture of aggression, pride, and bravery that reflects the persistence to overcome gender discriminatory constraints women face in society. In a music industry dominated by men, such that it is rare for female rappers to gain the same recognition and popularity as male rappers, Askia flips the status quo by projecting herself and her crew as artists unperturbed by the systemic limits presented by patriarchal culture. Her aggression and flow make up the confidence that translates to No Worry Me. Continue reading “Patriarchy No Worry Me”
Cameroon is the source of many formidable rappers in different ages, genders and backgrounds. Askia is among the ranks. Without much information known on her, she allows her music to speak for itself. Askia was first seen in mainstream rap in 2015. She released a wave of music and quickly generated a large fanbase. Based in the south west region of Cameroon, she is represented by Mutumbu records. Continue reading “Askia, Cameroon’s rising Femcee”
Hoarse voice, open sexuality and disclosure of the body in rather explicit movements, blended with hip-hop masculinity, are the essential elements of Cameroon hip-hop female artist Askia’s video No Worry Me. In this 2015 video, Askia embraces a traditional representation of women in hip-hop: the fearless woman. As stated in a 2015 interview for Kamer Kongosa, Askia does not care about anything or anybody who has something to say about her art. She is “doing her” and she knows “it is hip-hop” and this is how it works. Continue reading “No worry about Askia”
This post is another testament to Jovi, and his art that has the power of erasing class and gendered boundaries to solidify the Cameroonian social identity. Check out his music video for Zélé and you’ll see what I am talking about.
Continue reading “Show me the light Jovi”
While researching rappers in Cameroon, I came across a blog that mentions Cameroon’s Jovi as a pure rapper with undeniable talent. Of course I wanted to see this for myself. The first song I came across that actually sounded like hip hop was his single “B.A.S.T.A.R.D”. Intrigued by the name, I clicked the video and was treated to a cypher style setup. The video transitions from that to Jovi riding with his group, then to them blowing censored substances and then to him along with featuring artist Reniss on a rooftop. The song itself is in pidgin language, an English- Cameroonian slang mix. Jovi raps along with Cameroon’s urban youth about the conditions they face, calling themselves bastards.
Continue reading “B.A.S.T.A.R.D by Jovi”
On November 6 2018 President Paul Biya of Cameroon, will celebrate his 36 years of presidency.
According to his website Général Valsero “sees himself as a political rapper, who attacks and denounces the way the president Paul Biya runs his country, Cameroon”. This description is accurate when analyzing the lyrics and the video of rap song “Motion de soutien”.
Continue reading “33 sins of Paul Biya”
While researching the hip hop scene of Cameroon , it is impossible to come across Stanley Enow and his most awarded song, Hein Père. Stanley, who is a rapper, voice actor, radio and TV presenter, is also a breakthrough artist who became the first Cameroonian to win Best New Act in the 2014 MTV Africa Music Awards. Enow began writing lyrics and break dancing during his years in high school. Soon he began performing at popular night shows and on private radio stations. He has also hosted the show Mboa and done advertising for the Pan African telecommunications company MTN Group. Continue reading “Hein Père by Stanley Enow”
In world where African hip-hop artists are being accused of imitating American culture to produce their art, Cameroonian rapper Jovi represents the amalgamation of the two cultural art forms by producing a unique style that is distinct to his home country, but also carves out his own place in the global hip-hop scene. Jovi himself coined Mboko – a rising genre that merges Native African influences such as Bottle Dance and Makossa with Western electronic and hip-hop influences. In his video for Devil No Di Sleep, he lucidly showcases the influence Western hip-hop has on Cameron’s scene, but continues to represent his home country. Continue reading “How Jovi makes us bump to the sound of Cameroon”