Local identity and creativity Black hybrid culture in mainstream Nigerian hip hop Fatima Umar; Supervisor: Jonathan Stubbs

Yazar: Katkıda bulunan(lar):Dil: İngilizce Yayın ayrıntıları:Nicosia Cyprus International University 2014Tanım: VII, 94 p. picture, figure 30.5 cm CDİçerik türü:
  • text
Ortam türü:
  • unmediated
Taşıyıcı türü:
  • volume
Konu(lar):
Eksik içerik
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
Özet: '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'
Materyal türü: Thesis
Mevcut
Materyal türü Geçerli Kütüphane Koleksiyon Yer Numarası Durum Notlar İade tarihi Barkod Materyal Ayırtmaları
Thesis Thesis CIU LIBRARY Tez Koleksiyonu Tez Koleksiyonu YL 425 U43 2014 (Rafa gözat(Aşağıda açılır)) Kullanılabilir Communication and Media Studies Department T466
Toplam ayırtılanlar: 0

Includes CD

Includes bibliography (81-89 p.)

'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'

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

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