Singing the Body: Postmodern Orality and the Female Body in the Nigerian Hip Hop Nation.
The current trend in the Nigerian Hip Hop Nation (NHHN) to transgress established socio-cultural codes of 'adult-run society' in the Nigerian nation state has become a phenomenal postmodern signifier of urban youth difference. While this development has been acknowledged in a number of academic subm...
| Publicado en: | Contemporary Music Review Vol. 39; no. 1; pp. 117 - 137 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Feb2020
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=143696574&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 143696574 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 07494467 7VR jtl: Contemporary Music Review issn: 07494467 maglogo: N pubinfo: dt: Feb2020 vid: 39 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 143696574 10.1080/07494467.2020.1753477 ppf: 117 ppct: 20 formats: fmt: – @attributes: type: T – @attributes: type: P size: 180KB tig: atl: Singing the Body: Postmodern Orality and the Female Body in the Nigerian Hip Hop Nation. aug: au: Olusegun-Joseph, Yomi su: Identity (Psychology) Hops Urban youth Sexual objectification Masculinity Nigeria sug: subj: Nigeria Identity (Psychology) Hops Urban youth Sexual objectification Masculinity keyword: Postmodern Orality the Female Body, the Nigerian Nation State The Nigerian Hip Hop Nation Youth Culture ab: The current trend in the Nigerian Hip Hop Nation (NHHN) to transgress established socio-cultural codes of 'adult-run society' in the Nigerian nation state has become a phenomenal postmodern signifier of urban youth difference. While this development has been acknowledged in a number of academic submissions, there has however been a dearth of scholarship to account for the temporal socio-economic/cultural imperatives that have shaped it, and how these motivations have impacted new youth identity formations, intra-NHHN power relations and the remapping of gender. Recognising Nigerian hip hop as predominantly framed around a male entertainment orientation and counterhegemonic cultural outlook, this paper argues that the present-day circulation of hip hop in Nigeria is a deconstructive, transcultural, and capitalist practice that presents an arena of youth self-(re)encounter, especially in the area of an overwhelming politics of masculinity, rethinking nation/belonging and the discursive (re)drawing of the female body. In this context, I suggest that the representation/performance of the female body in the NHHN, quite against popular notions of its vulnerability to misogyny, revolves around a site of ambivalence in which woman is both visible and discursively veiled, claiming agency within a dominantly hyper-masculinist youth (sub)culture as much as getting objectified in it. In this context, it is difficult to posit a case of 'Nigerian feminist hip hop' within a definitive space of black sisterhood and this requires critical contemplation. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Music Review is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Contemporary Music Review holder: Taylor & Francis Ltd dt: @attributes: year: 2020 holdings: @attributes: islocal: N |
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