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Browsing Humanities by Author "Adedeji, Adewale"
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Item Negotiating Globalization through Hybridization: Hip Hop, Language Use and the Creation of Cross-Over Culture in Nigerian Popular Music.(Language in India, 2014-06-01) Adedeji, AdewaleThe process of globalization has been of a tremendous impact on African societies while the status-quo of expressive cultures have obviously not remained the same due to this factor with popular music gradually becoming homogenized to fit into the western stereotypes. The Nigerian popular music has been greatly influenced by the dictates and progression in the international scene due to global communication and cultural flows as exemplified by the popularity and proliferation of hip hop culture among the youths from the 1990s. It is quite evident that English is more or less the official language of popular music while the glorification and promotion of foreign music styles especially hip hop and its cultural expressions is almost making the local music practices less fashionable. This paper explores the Nigerian popular music practice through the current mainstream hip hop and identifies how its practitioners have successfully formulated a sub-genre dubbed 'Afro hip hop' through hybridization whereby African identity is portrayed and maintained by asserting linguistic independence with the use of Nigerian languages as medium of delivery through codeswitching. This is also followed by appropriating indigenous popular music style especially fújì and highlife to create a fusion that appeals to home-grown sensibilities while still subscribing to the global hip hop community. This paper reveals the effectiveness of 'Afro hip hop' as hybrid music and how it is being used as a strategy of resistance towards seemingly popular music homogenization brought about by globalization.Item The Nigerian Music Industry: Challenges, Prospects and Possibilities(IJRRSSH, 2016) Adedeji, AdewaleThis paper explores the status of the Nigerian music industry through the paradigm of its music promotion, marketing, and distributing structure. Using ethnographic and bibliographic sources, the study traces the history of the Nigerian recording industry which nose-dived from the late 1980s with the exit of major label operations like Sony, Polygrams and EMI due to political and economic factors and recognised the impetus given the music scene through the resilience and creativity of the new hip hop generation who now have to contend with myriads of challenges among which is piracy and copyrights issues. While highlighting some of these challenges, the paper presents an array of possibilities as well as recommendations and concludes that with proper structuring and intervention, the Nigerian music industry can be a major player within the global music scene, and be a viable revenue earner for the country aside from crude oil.Item Yoruba Culture & its Influence on the Development of Modern Popular Music in Nigeria(The University of Sheffield, 2010-12) Adedeji, AdewaleThis thesis focuses on the contributions of the Yorùbá culture to the development of modern Nigerian popular music. It traces the origin, conception and growth of popular music styles in Nigeria and highlights the underlying Yorùbá cultural cum linguistic influence that nurtured their growth within the urban space of Lagos city. It examines how contemporary Nigerian popular music practitioners appropriate the Yorùbá culture in negotiating their musical and national identities and counteract popular music homogenization through the creation of hybrid musical styles and cultures. The work adopts a multi-dimensional research approach that involves cultural, musicological, historical, anthropological and socio-linguistical tools. Adopting the participant-observer method with Lagos as the primary fieldwork site, additional data were sourced along with interviews of key informants through bibliographic and discographic methods. The study reveals the importance of Lagos as a major factor that contributed to the development of Nigeria‘s popular music practice as exemplified in genres like jùjú, fújì and afrobeat, and discovers that the Yorùbá language has gradually become the dominant medium through which artists express their musical identity as typified by current mainstream hip hop music. Extending earlier work by scholars such as Barber, Waterman and Euba and recent works in hip hop linguistics by Alim and Omoniyi, the thesis contributes to the growing body of research within popular music through the discipline of ethnomusicology, especially in the emerging area of academic inquiry into indigenous African hip hop culture.