Education as a Contested Space: The Back-to-School Campaign and the Crisis of Safe Learning in Cameroon's Anglophone Regions

By PoiseSocial · 21 September 2019 · 13 reader comments
Governance & Civic LifeCameroon lens: Political Culturecritical

In 2019, as armed conflict in Cameroon's Northwest and Southwest regions kept schools shuttered for years, civil society organizations including WaraSon Music launched a #Back2school campaign, using music and media to appeal for the creation of safe spaces for children to resume education—a demand that cut across the political divide.

Between the rife number of kidnappings and wanton killings, the whole situation is a good old clusterf**.The crisis affecting schools in Cameroon's Anglophone regions
The piece

We are all very much aware of the general insecurity that is rocking the NW and SW regions of Cameroon. Education and the freedom to go to school has been a bone of contention that both sides have been fighting on. While one side wants children to go back to school chiefly for the semblance of normalcy so that they can look good in the eyes of the international community, the other side is using it as leverage to make their voices heard.

Whatever the case, depending on whatever side of the fence you are on, you have to agree that the condition on the ground is not suitable for kids to pursue their education in a safe environment. Between the rife number of kidnappings and wanton killings, the whole situation is a good old clusterf**.

WaraSon Music Ent. joined its voice with other civil society organisations in a #Back2school media campaign. They write...

"Since 2016, the civil unrest in the two English speaking regions of Cameroon has kept almost all schools across the regions shut for 3 academic years. Today, the prolonged boycott poses devastating consequences on the future of our children and youthful population, some of these consequences already clearly visible today.

The aim of our media campaign is to sensitize and appeal to Individuals, groups, Organisations and Government organs, the need for creating a safe space for every child to go back to school.

We at WaraSon Music believe in the power of music as a tool for educating, informing, enlightening, inspiring, and creating meaningful change."

Their campaign song "Back to school" is sung by Cameroonian emerging afroRnB singer and songwriter El Kobi is already available online on our YouTube channel.

you can watch the song by clicking on the link below

YouTube link: https://youtu.be/dFKeQIlmRAw

While one side wants children to go back to school chiefly for the semblance of normalcy so that they can look good in the eyes of the international community, the other side is using it as leverage to make their voices heard.The two-sided political game being played over children's education in Cameroon
We at WaraSon Music believe in the power of music as a tool for educating, informing, enlightening, inspiring, and creating meaningful change.WaraSon Music on why they joined the Back2School campaign
Context

By 2019, prolonged civil unrest in the Anglophone regions had disrupted schooling for nearly three years, creating a stalemate where government pushed for normalcy (partly for international optics) while armed groups used education access as a negotiating point. The humanitarian cost fell entirely on children and families caught between these positions.

Why it matters

The piece captures a crucial moment when Cameroon's civic organizations refused to accept the securitization of education as inevitable, instead centering the basic right to safe learning. It remains vital because it documents how cultural workers and NGOs responded to state failure—not with ideology, but with direct appeal to human need—and because the underlying tension between state legitimacy and protection of civilians persists in conflict-affected regions globally.

How the audience responded
The comments reveal a divided and skeptical audience, with the dominant sentiment critical rather than celebratory. Across multiple threads, readers insist that the article—or the initiative it covers—oversimplifies a complex conflict by emphasizing one side (rebels) while underrepresenting state responsibility, and that real solutions require government action on security, not artistic appeals. A recurring theme is the gap between lived experience in the Anglophone regions and outside accounts: readers claim those outside the conflict zone rely on state-sponsored media narratives and thus misunderstand the reality, which they frame as equally threatening from both government and separatist actors. The debate is real but tense, marked by readers correcting one another on whether the article itself already acknowledged the dual crisis, suggesting some frustration with the adequacy of the piece itself. Overall, the reaction reveals an audience that sees symbolic gestures (like a song campaign) as insufficient and sometimes misleading when underlying security and governance failures persist, and that engages from a position of on-ground skepticism toward any narrative that does not center that fundamental impasse.
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