Moralising female identity in Cameroon in the 1990s: female prostitution and the song “you gu cry”

Abstract

Between the 1970s and early 1980s, when Cameroon was still at the juncture of promising social plenitude, popular music genres like Makossa were a mere auditory art instead of a profit-making activity as we have in Cameroon today. Popular music at that time was simply “music for the ears”, meant to produce emotional sounds, pleasant to listen to. Bars, night clubs and streets were common environs where dancing took place as the physical expression of pleasure from music. The explosion of early music such as Makossa did not match the precarious marketable opportunities at that time. As a result, music appeared as a hobby, and not because singers derived income from its production. The themes focused on varying social experiences and problems, from love and emotional pathos to (im)morality. As such, one is tempted to assert that singers hardly expressed demur or outright lampoonery against public transgressions such as corruption, prostitution or swindling, as is the case nowadays. The themes were far less what we find in contemporary Cameroonian literate culture, namely cinema, media and popular music. This paper focuses on Misse Ngoh's popular song titled “you gu cry” as a medium of social reform through the beguiling fantasies of a female archetype, Mary, in Cameroon in the nineties. The paper contends that though this song produces laughter, rendering it a humorous piece with potential enough to entertain, the same humour turns out serious, handling prostitution and women involved in this activity in a very negative way. This is achieved when Misse Ngoh, using his female archetype Mary, constructs a problematic image of females in the Cameroon urban sphere. Taking these into consideration, Cameroon popular music as seen from Misse Ngoh's “you gu cry” takes on a different significance. Finally, in the iconography of Mary, this paper sets out to explore the agency of females who were baffled within the intricacies of urban life and modernity in the nineties. It examines the challenges of the new urban spaces (as notorious corners of prostitution) that such women chose.