AU  - Umar,Fatima
AU  - Supervisor: Stubbs, Jonathan
TI  - Local identity and creativity: Black hybrid culture in mainstream Nigerian hip hop
PY  - 2014///
CY  - Nicosia
PB  - Cyprus International University 
KW  - Globalisation
KW  - Küreselleşme
KW  - Discourse
KW  - Söylev
N1  - Includes bibliography (81-89 p.); 1; INTRODUCTION; 4; OBJECTIVES OF THE STUDY; 5; IDENTIFYING CULTURAL APPROPRIATION AND HYBRIDITY THROUGH GLOBALISATION; 9; METHODOLOGY; 10; THESIS STRUCTURE; 11; CONCLUSION; 12; CHAPTER ONE: LOCATING NIGERIAN HIP HOP; 12; INTRODUCTION; 12; MUSICAL THEORY AND SEMIOTICS; 14; A PORTRATE OF NIGERIAN HIP HOP, ITS GROWTH AND RELATIONSHIP WITH GLOBAL CULTURAL; 17; ''CULTURAL RESISTANCE THROUGH COLLABORATION''CHALLENGING THE AMERICAN HIP HOP INFLUENCE; 25; THE NIGERAIN MUSIC INDUSTRY AND THE SEARCH FOR DEFINITE IDENTITY; 29; CONCLUSION; 31; CHAPTER TWO: LINGUISTICS AND MULTILINGUAL REMIXING; 31; INTRODUCTION; 31; STYLING HIP HOP LANGUAGES THGROUGH GLOBALISATION; 33; ENGLISH LANGUAGES AND PRETIGE: REVISITING NIGERIA'S LOCAL LANGUAGES; 37; TRACING NIGERIAN PIDGIN ENGLISH; 39; MULTILINGUAL CODE SWITCHING; 40; HYBRID FORM : REFLECTION OF LANGUAGES IDENTITY IN NIGERIAN HIP HOP; 52; CONCLUSION; 54; CHAPTER THREE: ICONOGRAPHY, VISUAL IMAGERY AND DANCE STYLES OF NIGERIAN HIP HOP; 54; INTRODUCTION; 54; TRACCING ICONOGRAPHIC AND VISUAL REPRESENTATION; 56; CULTURAL DOMINATION AND THE STRUGGLE OF ''KEEPING IT REAL'': THE AFRICAN AMERICAN INFLUENCE; 60; NIGERIAN CULTURAL INFLUNCE : A STRATEGY OF RESISTANCE; 68; FEMALE REPRESENTATION IN NIGERIAN HIP HOP VIDEOS; 70; LOOKING FOR THE REAL: DOING IT THE ''NAIJA''(NIGERIAN) WAY; 70; DANCE IN NIGERIAN HIP HOP; 75; CONCLUSION; 77; CONCLUSIVE CEREBRATION AND OBSERVATION; 77; INTRODUCTION; 77; COMPLEXITIES OF NIGERIAN HIP HOP; 78; NIGERIAN HIP HOP, LANGUAGE, DANCE AND IMAGE SYNERGY; 79; WEAKNESS OF THE STUDY; 79; RECOMMENDATION; 81; BIBLIOGRAPHY; 90; VIDEOGRAPHY; 91; DISCOGRAPHY
N2  - 'ABSTRACT  This thesis focuses of Nigerian hip hop music, showing the creativity and local identity created by artists.It attempts to take a positive outlook on Nigerian hip hop, countering the negative comments levelled against it by some music scholars. I argue that globalisation has made an enormous impact on Nigerian hip hop culture and has played an important role in shaping the music and performance styles of individual Nigerian artists. In particular, Nigerian hip hop music has been heavily influenced by a globalised African American culture. My analysis focuses on mainstream Nigerian hip hop music. In chapter one I explore the roots and growth of Nigerian hip hop from the early 1990s to the present and showing the influence of African American hip hop on Nigerian artists and their hip hop. Chapter two with the use of discource analysis identifies how artists have successfully created distinctive musical forms through linguistics hybridity whereby Nigerian identity is showcased and maintained by asserting inguistic autonomy through the use of Nigerian local languages (Yoruba, Hausa and Igbo), Nigerian Pidgin and Standard English, creating a passage of transference through the concept of multilingual code switching. This is followed by chapter three which also with the help of discource analysis examines the ways in which local costumes and dance styles are combined with African imagery to create a music that appeals in a Nigerian environment while still remaning connected to global hip hop. Finally, my conclusion gives a general overview of the whole thesis, pointing out that Nigerian artists tend to bring in two principle elements and messages in their representation of hybrid forms, presenting their lyrics and dance styles to fit into their cultural environment. As such, Nigerian hip hop artists have successfully carved out a hybrid form for themselves and the hip hop genre.  Key words: Hybridity, globalisation, discource, hip hop, Nigeria'
ER  -