Research Articles in Law

Permanent URI for this collectionhttps://repository.elizadeuniversity.edu.ng/handle/20.500.12398/61

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Reading Nigerian Hip Hop Music through Nollywood Films: An Examination of The Wedding Party
(International Journal of Research and Innovation in Social Science (IJRISS), 2022-09) Adedeji, Wale; Afe, Adegoke
The symbiotic relationship between motion picture and music cannot be over-emphasised as both stands as an important aspect of the expressive art form. Movies represents and mirrors the society while music communicates emotions, complements the storyline and expresses the characters’ inner feelings. This study explores the interrelationship between popular music and Nollywood by investigating the occurrence and implication of hip hop music in the movie the Wedding Party. Through in-depth content analysis of the data (movie) a larger occurrence of hip hop music was isolated and classified which indicated the popularity of the genre and its acceptance amongst all age grades. The research also validates the argument that hip hop music and its associated culture is becoming the toast and major feature of the mainstream wedding ceremonies in Nigeria today
Documenting Nigeria’s Hip hop Music Evolution in Nollywood: an Examination of Tunde Kelani’s Campus Queen
(American Journal of Interdisciplinary Research and Innovation (AJIRI), 2022-08-30) Adedeji, Wale
It has been established that the Nigerian music industry has grown tremendously in recent times through the popularity and dynamism of the Hip hop genre, which has positioned itself as the mainstream music presently. Likewise the Nigerian film industry now referred to as Nollywood is credited as the fastest growing film industry and rated the third largest film industry in the world after Hollywood and India’s Bollywood and currently accounts for an estimated N 853.9 billion ($7.2 billion) or 1.42 percent of Nigeria’s GDP. This paper establishes the interface between popular music culture (hip hop) and Nollywood through the notion of documentation with a highlight of how Hip hop music is being documented in Nollywood formative years either consciously or un-consciously. The paper adopts a qualitative research method with an in-depth analysis of music in the movie-Campus Queen. The research concluded that a piece of recorded music can be considered a document while the existence of Hip hop music in Campus Queen attested to the fact, thus making Nollywood a veritable source to assess and analyse popular music genre.
Digitalization and New Trends in the Nigerian Music Industry: The Social Media Angle
(International Journal of Recent Research in Social Sciences and Humanities (IJRRSSH), 2023-08-08) Adedeji, Wale
It is evident that the evolution of digital technology has created an apparent and drastic shift in the way the music industry operates. Social media as an important tool in music digitalisation is also bringing further transformation to the way artistes, producers and other music industry stakeholders conduct their business. Adopting the qualitative research method with digital ethnography and consultation of relevant literatures, this study examines the Nigerian music industry and the popular music scene through the current Afrobeats sub-genre against the backdrop of social media deployment. The paper argues that the social media has contributed positively towards the popularity of Afrobeats and the Nigerian music industry, and through social media new trends and novel way of music production, promotions and dissemination is being witnessed in the Nigerian popular music scene.
Copyright policy and the Nigerian music industry in the era of digitalisation
(Journal of Legal Anthropology, 2023) Adedeji, Wale
The booming Nigerian music industry is having a tremendous impact on the global music scene, but at the local level it is beset by dif- ficulties brought about by copyright enforcement. The very vibrancy of this industry is attested through numerous kinds of sonic outputs amidst the ongoing process of digitalisation, especially as evidenced by the cur- rent mainstream youth-driven hip-hop hybrid music genre known as ‘Afrobeats’. However, insufficient attention has been given by scholars to the availability, or lack, of spaces for independent and/or emerging art- ists to create songs outside the tight control of copyright and intellectual property laws. This is especially true for musicians who produce ‘digital mixes’. One issue that comes up rather often in reference to the production and consumption of music in this heavily regulated internet-era context is piracy, which, though ethically problematic, has nevertheless persisted in the absence of meaningful ways to allow independent and emerging artists the freedom to ply their trade.
Streaming services and brokerage in the music industry crisis in Nigeria
(Taylor & Francis Group, 2024-12-09) Adedeji, Wale; Röschenthaler, Ute
Following the development of digital technology, the music industry experienced a severe crisis in Nigeria, as elsewhere. This technology made the copying of music easy and enabled artistes and users to produce and share music and video content on social media and other internet platforms. The emergence of streaming services changed this dynamic again and provided new opportunities for artistes and later also for the music industry. In Nigeria, several local entrepreneurs created streaming platforms, offering Nigerian and/or African music, and soon after also global platforms and producers began to launch their services in the country. Based on digital ethnography and field research in Nigeria, this article examines the developments in the music sector and its copyright institutions and discusses the broker characteristics of the streaming platform owners. It explores how far internet platforms, or rather their owners, particularly in the field of music, can be considered brokers or mediators of the music industry crisis, and how their affordances have changed the perception of this crisis over time. The article also examines how these platforms have transformed and mitigated the piracy crisis more recently, raising hopes among the music industry and a new generation of artistes in Nigeria for a sustainable music market.
New Media with Trends: Digitalisation and the use of Social Media in the Nigerian Music Industry
(Routledge Taylor and francis Group, London and New york, 2026) Adedeji, Wale
The advent of new media has significantly transformed Nigeria's c_reat_ive and cultural industries, particularly in the realms of Nollywood, th~ N1~e~1an film industry, and the music industry, as projected by Afrobeats mu_s1c. D1g1tal pl_at- forms have facilitated unprecedented access to global audiences, enablmg Nigerian creatives to showcase their work beyond local borders. This shift has led to increased revenue streams and job creation within these sectors. The integration of local narratives with universal themes allows for a unique cul- tural export that resonates with diverse audiences, thereby enhancing Nigeria ·s soft power on the global stage through her creative and cultural industries. The new media is currently playing a pivotal role in redefining Nigeria's creative landscape by promoting innovation and expanding cultural reach. As digitali- sation continues to evolve, it is essential for stakeholders within Nigeria's crea- tive ecosystem, ranging from content creators to regulatory bodies, to embrace this transformation. By doing so, they can harness the potential of new media technologies to further elevate Nigeria's cultural significance on the world stage (AJakwe, 2019). Moreover, new media have fostered a dynamic interplay between Nigerian and global cultures, challenging traditional perceptions of cultural imperialism. While American media often dominate perceptions among Nigerians the rise of transnational collaborations between Nigerian artists and international counter- parts serves to create a more balanced narrative (Banjo & U munna, 2022). This exchange not only enriches the artistic landscape but also promotes a grt:ater Hppredation for Nigerian culture both domestically and intcrnatioinlly. Looking at the music industry critkally, one can rightly say that the ne v media have fun
A Strategic Content Analysis of Media Reporting on Sports in Nigeria: A Case Study of National Newspapers.
(IISTE : Journal of Education and Practice, 2013) Ajibua, M.A; Oladitan, I.O; Adesina, O.T; Bewaji, O.B
Sport and media has a long history of interconnectedness. This union has resulted to a marriage laced with tremendous benefits for both media and sport. As a result of their commercialization, sport and media has continued to grow globally. Inspite of the contributions of the symbiotic relationship between media and sport in Nigeria to national economy, the mutuality has not received attention from researchers. Thus, the study is out to ascertain the status of newspaper reporting on sport in Nigeria with a view of using it to drive national sport development. The study used six (6) national newspapers in Nigeria spread across the 12 months of 2012 (January-December). The content analysis of the frequency of news items and photographs on education, business, health politics and sports were carried out. The total of 17,676 news and photographs were collated. The results showed that sport received more patronage from newspapers outlets in Nigeria that any sector of the national economy.
The Status of Gender Media Coverage of Sports In Nigeria: A Case Study Of Print Media
(IISTE : Research on Humanities and Social Sciences, 2013) Ajibua, M. A; Oladitan, I. O; Oyerinde, O. O; Bewaji, O. B
The aim of this study was to establish the status of print media coverage of male and female athletes in Nigeria. The study monitored the frequency of occurrence of print media reporting on male and female athletes. Articles and photographs of athletes in print media within the period of a year were analyzed. The results of the study confirmed that male athletes were more frequently reported in National Daily Newspapers in Nigeria than female athletes. This gives more visibility to male athletes than female athletes.
PERCEIVED MOTIVATIONAL FACTORS INFLUENCING LEISURE-TIME PHYSICAL ACTIVITY INVOLVEMENT OF TEACHING AND NON-TEACHING STAFF IN TERTIARY INSTITUTIONS IN ONDO STATE, NIGERIA\
(International Journal of Asian Social Science, 2013) Ajibua, M.A; Olorunsola, H.K; Bewaji, O.B
The benefits of involvement in leisure-time physical activity have attracted individuals, groups and governments to it. There is compelling evidence that an active and fit way of life has many important health benefits and that sedentary habits are associated with increased risks of numerous chronic diseases and decreases longevity. The aim of this study was to identify motivational factors influencing leisure-time physical activity involvement among staff of tertiary institutions in Ondo State. For the purpose of the study, 200 teaching and 200 teaching staff were selected for the purpose of achieving equal representation of the staff population from Government-owned tertiary institutions in the state using convenience sampling technique. The result of the study indicated that the major factors influencing involvement in leisure-time physical activity among the staff are personal motivation/interest and peer group influence. It thus suggested that the motivational factors for involvement in leisure-time physical activities among various social groups therefore need to be understood by leisure managers and coaches as this will assist them to fashion out programmes that will meet the needs and aspiration of the people.
Nigerian Hip Hop and the Yoruba Influence: “Rugeddy Baba” and the Negotiation of National Identity
(Scholars Middle East Publishers, 2017) Adedeji, Wale
Identity is an integral part of human existence and as a cognitive phenomenon it is regarded as a basis for selfrealisation and actualisation. Popular culture is an important conduit through which identity can be formulated and expressed. Music on the other hand as an expressive art is a major appendage of popular culture and a fertile ground for identity negotiation and formulation, in this instance through language use. This paper investigates the music- Hip hop, the language- Yoruba and examines how the artiste- Ruggedman employs the use of the mother-tongue while exploiting the general acceptability of the Yoruba language to popularise hip hop music in Nigeria .The research argues that, through the artiste‟s Yoruba linguistic affiliation he is able to formulate a national identity with a language not his own in a country where there is an overt subscription to ethnic loyalty rather that national.
Africanity and New Wave Popular Music Style in Nigeria: “Afro” Hip Hop Revisited
(Scholars Bulletin, 2016-07) Adedeji, Wale
The concept of Africanity traverses many decades, being a socio-political ethos or cogitation perceived as manifest reaction against slavery and colonization. As a resistance mode, imbuement of the Africanity philosophy has shaped people of African descent in the Diaspora and many post-slavery generations all over the world in maintaining their African roots identity. This paper examines the concept of Africanity in the 21st Century Africa, using the Nigerian popular music scene as a paradigm. Against the backdrop of the present mainstream Hip hop music style referred to as „Afro hip hop‟, the study will use music and video analytical procedures with the objective of identifying the various media through which hip hop artistes project their Africanity. It is quite evident that music artistes still strive to maintain their African identity despite subscribing to a Western originated music style. This is made manifest through language use, nomenclature, message, visual projection, and sonic arrangement among other parameters.
NEGOTIATING GLOBALIZATION THROUGH HYBRIDIZATION: HIP HOP AND THE CREATION OF CROSS-OVER CULTURE IN NIGERIAN POPULAR MUSIC
(4th European Conference on African Studies (ECAS 4), 2011-06-18) Adedeji, Wale
The 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 Euro-American stereotypes. It is quite evident that 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. Also a critical look at language use in music reveals that ‗English is the language of popular music, arguably a form of linguistic globalization‘ (Shuker 2005:127) 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 code-switching. This is also followed by appropriating indigenous popular music style like fújì 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 was used as a strategy of resistance towards popular music homogenization brought about by globalization.
PERFORMING ARTS AND ECONOMIC SELF RELIANCE IN NIGERIA: THE ELIZADE UNIVERSITY EXPERIENCE
(WARIMA INTERNATIONAL CONFERENCE, 2014-11-26) Adedeji, Wale; Akinsipe, Felix; Afe, Adegoke
The fundamental concern of the Arts disciplines (Humanities) is with man and his complex nature, cognizantly his multifaceted relationships with the world around him and beyond. It is in this context that each Arts discipline tries to investigate and explain those aspects of man’s nature that particularly concern or challenge him. In a more specific context, the study and practise of Performing Arts is saddled with the expressions of these realities offering opportunities to display cultures and traditions while “mirroring” the society. In recent times there has been a sudden rise in interest and attention given to the creative and cultural industries especially with the popularity of Nigerian popular music and video film across Africa and beyond. Further to this, a lot of young minds have been inspired to seek university education in this area in order to develop their artistic instinct and build their creative capacity towards economic self-reliance. This paper highlight the objectives of the Elizade University Performing and Film Arts degree programme as it experiments with the concept of ‘total theatre’ incorporating drama, music, dance and film. Furthermore, the idea to deviate from the traditional nomenclature of ‘theatre arts’ by incorporating ‘film studies’ into the programme is being stressed here to portend the ability to produce thorough bred professional in the field that would eventually be ‘job givers’ and not ‘job seekers’ The paper also traces the origin of the Nigerian film industry now called ‘Nollywood’ and asserts that in the nearest future the Elizade Performing and film arts graduate will be ready to fill the capacity requirements of Nollywood, and be part of the generation to take the industry to the next level. It is hoped that this paper will generate more interest in emphasising economic sustainability through university education using the Elizade Performing and Film arts degree programme as an impetus.
Yoruba Culture & its Influence on the Development of Modern Popular Music in Nigeria
(The University of Sheffield, 2010-12) Adedeji, Adewale
This 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.
Representing Africa in Contemporary Nigerian Hip Hop: A Video Analysis of Ruggedman's “Ruggedy Baba”
(Modern Research Studies, 2015-12) Adedeji, Wale
Since MTV pioneered the art of music video broadcast in 1981, music video has gradually become one of the most important outlets for music promotion and an indispensable marketing strategy for an artiste. In recent times music video has almost assumed a life of its own and somehow larger than the music itself with a lot of investment in energy and finance being put into it by artists, labels and management. Africa on the other hand is catching on with this trend as there is an overt visibility of MTV Africa and other satellite television stations like Channel - O, Soundcity, Nigezie and Trace solely dedicated to promoting music videos. This paper examines the concept of music video in the Nigerian popular music context while extracting its functionality in the contemporary Nigerian hip hop genre. Against the backdrop of the ‘Ruggedy Baba’ video this research isolates the primary function of a video to music and argues that through visual representation of music, identities can be formulated as presented in ‘Ruggedy Baba’ where traditional Africa is prominently represented in a music genre deeply rooted in urban street culture.
African Popular Culture and the Path of Consciousness: Hip Hop and the Culture of Resistance in Nigeria
(Postcolonial Text, 2013-11) Adedeji, Wale
Having witnessed increasing popularity and boost in Africa from the 1990s, hip-hop is rapidly becoming a dominant culture among the youths as a vehicle of local social critique and global inter-connectivity in the public sphere. While incorporating elements from their own local cultures to appeal to home-grown sensibilities, hip-hop musicians have found a platform for getting their messages and ideas across to local audiences through music. However, in recent times hip-hop has been an object of constant criticism for veering off its path of consciousness with its projection of affluence, materialism (‘blings’), over-sexualisation, and misogynist(ic) messages by its artists. This paper argues that despite a lot of negative criticism trailing hip hop worldwide, Africa still remains a fertile ground where the genre is being deployed by youths as a vital tool of resistance and a powerful voice for socio-political and economic change. Using the Nigerian hip-hop scene and the critical analysis of the music of Sound Sultan, 2Face Idibia and Eedris Abdulkareem, I demonstrate the ways in which popular hip-hop music has now assumed huge cultural force for youths in urban Nigeria. I argue that the hip hop generation in Nigeria still believes in using the genre to effect a change in a country riddled with corruption and abuse of public office, thereby choosing the path of consciousness over commercialisation and large-scale hedonism amongst youth.
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, Adewale
The 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.
The Nigerian Music Industry: Challenges, Prospects and Possibilities
(IJRRSSH, 2016) Adedeji, Adewale
This 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.

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