Abstract
In 2016, a crisis broke out in Cameroon provoked by secessionist agitations in the two Anglophone regions of the North West and South West. It has variedly been referred to as the Anglophone Crisis or the Ambazonian War. The crisis has affected and threatened the unity, territorial integrity, social cohesion and le vivre ensemble in Cameroon. It has shattered the economy, destroyed schools, villages, infrastructures and businesses leading to mass displacement of persons to the Francophone regions and neighbouring Nigeria. In fact, the crisis has inflicted huge anguish and damages on the masses and has left the populations in very precarious conditions and misery that demand humanitarian actions to their rescue. Appeals have been made from several stakeholders both nationally and internationally pressing on the government to seek and implement lasting solutions to the crisis. Some musicians and song composers through musical activism added their voices to the calls for peace by articulating and conveying the misfortunes, despair, miseries and sufferings of the poor masses, victims of the war. This was exhibited in the music titles, the lyrics or messages they passed across, their grieving faces in the video grams and their tones that were telling and compelling as they expressed their lamentations. The musicians via musical activism regretted the war, begged for peace, unity, cease-fire and veritable actions in seeking lasting solutions to the crisis. This article attempts an analysis of the content and messages of some of these musicians revealing the desperation and gravity of the crisis in Cameroon.
 
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Highlights
The set of maneuvers they engaged through music and songs to achieve their goal are evident to the matter of fact of the inherent ability of songs and music as a means of accomplishing liberation struggles or putting an end to civil wars, political tensions and crises (Jacob, 2019)
We have tried to demonstrate that music is a very important component in the socio-political life of any society
Within the context of the Anglophone secessionist crisis, which has remained a threat to the unity, social cohesion and le vivre ensemble, appeals emerged from both national and international stakeholders requesting the peaceful resolution of the war and a return to peace
Summary
Musicians took advantage of law No 90/053 of 19 December 1990 on freedoms and associations to make bold their role in shaping and imparting the sociopolitical life of the state through musical productions that generally addressed the concerns of the masses and slammed the state of poor governance in the country (Tangem, 2016: 161) This was the case of Awilo de Bamenda (Ndi Tansa) with his ‘‘Country Don Spoil’’ aired to the public in 2006, Lapiro de Mbangaii who was awarded the Freemuse award as the best and most prolific human rights activist in 2009, thanks to his songs like ‘‘Na Yu’’, ‘‘Lefam So’’ and ‘‘Constitution Constipe’’ which was later broadcasted in 2011. This is true, as musicians and composers employed musical activism in the struggle to end the current Anglophone secessionist crisis
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