Bikutsi is a musical genre from Cameroon. It developed from the traditional styles of the Beti, or Ewondo, people, who live around the city of Yaoundé. It was popular in the middle of the 20th century in West Africa. It is primarily dance music. Etymology The word 'bikutsi' literally means 'beat the earth' or 'let's beat the earth' (bi- indicates a plural, -kut- means 'to beat' and -chi means 'earth'.) The name indicates a dance that is accompanied by stomping the feet on the ground. Description Bikutsi is characterised by an intense rhythm (3+3, with a strong "two" feel), though it is occasionally and its tempo is usually quarternote. it is played at all sorts of Beti gatherings, including parties, funerals and weddings. Beti gatherings fall into two major categories: Ekang phase: the time when imaginary, mythological and spiritual issues are discussed Bikutsi phase: when real-life issues are discussed A double sided harp with calabash amplification called the mvet is used during these ceremonies, by Beti storytellers, who are viewed as using the mvet as an instrument of God to educate the people. The Ekang phase is intensely musical, and usually lasts all night. There are poetic recitations accompanied by clapping and dancing, with interludes for improvised and sometimes obscene performances on the balafon (a type of xylophone). These interludes signal the shift to the bikutsi phase, which is much less strictly structured than Ekang. During bikutsi, women dance and sing along with the balafon, and lyrics focus on relationships, sexuality and the lives of famous people. These female choruses are an integral part of bikutsi, and their intense dancing and screams are characteristic of the genre. Traditional bikutsi was often ironic in its content, as many modern bikutsi songs still are. In its modern form, bikutsi is very popular, and rivals makossa as the country's most renowned style. History Popular bikutsi first appeared in the 1940s with the recording of Anne-Marie Nzie. Some twenty years later, the style was electrified with the addition of keyboards and guitars. The most popular performer of this period was Messi Me Nkonda Martin, frontman for Los Camaroes and known as "the father of modern bikutsi music". In an effort to translate the sound and spirit of traditional bikutsi music to more modern terms, Messi incorporated the sound of a balafon into the electric guitar by linking together the guitar strings with lengths of