Bikutsi is a traditional music and dance genre originating from Cameroon's forest regions in the southern, eastern, and central parts. Bikutsi, originally pronounced as Bai-kut-si in the Ewondo, the language of the Beti people, means we hit the ground or to hit the ground.

Though the founding date of Bikutsi is unknown due to the prevalent oral passing down of traditions from generation to generation across most African communities, the origins of this dance genre have remained.

The Bikutsi dance genre started amongst women from the Beti, Fang, and Bulu ethnic groups in a strictly patriarchal society. The women were not allowed to speak in public, in front of men, or express dislike about an event or situation. Two women together were assumed to be plotting evil. The consequences for such were dire. In a bid to express themselves – talk about their hurts, share their joys and sorrows, and ask for advice from older women – thus leading to the emergence of the Bikutsi dance genre.

On return from their farms or markets, the women would gather in circles in open spaces and begin to sing and dance about their daily lives. As the singing and dancing go on in the outer circle, each woman takes turns coming into the middle, clapping their hands or striking short wood as they sing about their hurts, joys, sorrows, challenges at the home front, and other situations. The women in the outer circle would repeat the chorus together, clapping and stamping the ground. When there was a need for advice, an older woman would respond by singing her advice.

The Bikutsi was a quiet revolution against the oppressive silence imposed on the women. Interestingly, the men who observed these dances assumed they were spontaneous performances. So, they didn't kick against the gathering. Over the years, the genre earned the title, the feminist dance.

This storytelling feature of this dance genre features a series of clapping and a dance characterized by shaking the shoulders, back, and buttocks. Despite the initial purpose of the Bikutsi dance being a form of expression for the Beti women, the festive rhythms were undeniable. In addition to the clapping, the musical instruments, such as the balafon and Tom toms.

Bikutsi music encompasses diverse instruments, showcasing a rich blend of traditional and contemporary elements.

In its traditional form, instruments like the Mvet (a stringed musical instrument), the gourd-resonated xylophone instrument called Balafon, and shakers contribute to its unique sound.

Traditionally, Bikutsi is notable for being in a 6/8 or 3/4 time signature, primarily performed on the Mvet and Balafon.

However, in its modern evolution, additional instruments like the electric guitar (both rhythm and bass), keyboards, hi-hat, and snare have been seamlessly integrated. These contemporary additions maintain the genre's polyrhythmic essence, enhancing its complexity.

The incorporation of various instrument variations at different stages of the beats adds intricacy. Meanwhile, the bass guitar synchronizing with the hi-hat, further enriches the rhythmic accompaniment, elevating the music's depth and complexity.

This dance rhythm invites energetic movements, often featuring call-and-response vocals between male and female singers. The music's form typically consists of repetitive beats and melodic patterns, creating an infectious groove.

Evolution of Bikutsi to Contemporary Sounds

Years later, especially in the 1960s, this feminist music genre of the Beti people was gradually taken over by men as it evolved with the incorporation of modern instruments such as guitar and singing style. The father of modern-day Bikutsi is Cameroonian singer and guitarist Messi Martin. Messi was said to have introduced the guitar sounds into Bikutsi by using it to reproduce the balafon sounds. Other artists who led the popularity parade of this genre were Elanga Maurice, Mama Ohandja, Zélé le bombardier, Nkodo Sitony, and the iconic band called Les Têtes Brûlées, who emerged in the 1980s.

In the 1990s, there was a re-emergence of female bikutsi singers such as Catherine Edoa Ngoa, popularly known as K-tino.

Finally, bikutsi music is a representation of Cameroon's culture. From its roots in Beti traditions to its modern-day expressions, it is a rhythmic force that preserves history, celebrates community, and captivates audiences with its infectious beats and vibrant melodies. It is regarded as Cameroon's second-greatest musical export after Makossa.

The Bikutsi dance genre was a quiet revolution against the oppressive silence imposed on the women in the strictly patriarchal society.

Bikutsi: Cameroon’s Feminist Dance Genre

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