I have been trying to avoid getting into some of the polemics on social media, but then, how can I ignore the question of why Cameroonian female artists constantly come to the public to tear each other to bits? Come to think of it, they are the ones complaining that they are not getting enough support from us, the fans. But when all we read about them is negativity, I struggle to find what to support.
The recent clash on social media between Cameroonian female rap artists Askia (Karin Askia Orinji) and Tilla Tafari (Bongkiya Venagesho Lantum Bertilla) regarding the Zara’s pool party show has exposed a disheartening lack of solidarity among these artists.
Askia was contracted and compensated for her performance at Zara’s pool party, held last weekend, while Tilla sought a free spot as her way of supporting the event—an offer that Askia firmly rejected. The rift between them escalated when Askia insisted she would not participate if Tilla was included in the program, fearing a potential confrontation that could tarnish her image and career.
This public feud is not an isolated incident but rather a manifestation of a long-standing, unresolved dispute between the two artists. The roots of their discord remain unclear, and since Tilla’s fallout with New Bell Records, she has been openly confrontational with anyone associated with Jovi.
In a broader context, the Cameroonian English entertainment industry has struggled to attain international recognition. While English-speaking artists face challenges in gaining global acclaim, they paradoxically engage in local infighting, hindering the industry’s progress. The ongoing public disputes, not only among female rappers but also male artists, undermine potential collaborations and unity crucial for growth.
With less than 10 successful English-speaking female rappers in Cameroon, it is disheartening that internal conflicts prevent them from standing together. This lack of unity is not exclusive to female artists but extends to male artists who harbor personal animosities, hindering collaborative efforts.
Unlike their international counterparts, who prioritise professionalism over personal differences, Cameroonian artists seem entangled in petty disputes, hindering the industry’s advancement. The recent social media clash between Askia and Tilla exemplifies this disunity, making it difficult for artists to garner genuine support from fans.
While Tilla grapples with challenges in her career and personal life, and Askia, although recognized in the industry, is still on her journey, the comparison with international female rappers highlights the significant gap they need to bridge.
Critics have condemned Askia, labelling her as selfish and self-centered, suggesting that her tendency to play the victim only exacerbates conflicts. The question arises: Are such public disputes necessary for an industry striving for growth, as is the case with Cameroon?
The ongoing lack of collaboration and unity among Cameroonian artists, despite their industry’s modest size, raises concerns about their understanding of showbiz versus personal feelings. Cancelling a show over personal disagreements questions the professionalism of artists and impedes the industry’s collective progress.
