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‪This contribution proposes, from a diachronic approach and an analysis of sung corpus, to highlight the singular trajectory of dissident music in Cameroon since the colonial period. The analysis shows that from the 2010s, the penetration of connected mobile devices and the digital changes in the modes of distribution and consumption of cultural content have given certain visibility to a musical genre that has long been forced underground. The article advances the idea that the internet and streaming platforms contribute to the political, social and economic valorization of protest music. It shows the link between digital communication platforms and new musical aesthetics of political and social struggle.‪