Popular Culture and Decolonisation: Themes, Tropes and Trajectories in Nigerian Hip Hop.
Contemporarily, the drive for decolonisation following the virulence of the colonial experience on postcolonial societies has gained currency. This has been in the face of pervasive, hegemonic Global North structures that have de-centred non-Western epistemologies. This article engages Nigerian hip...
| Publicado en: | African Studies Vol. 82; no. 3/4; pp. 241 - 264 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Sep/Dec2023
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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=176121183&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 176121183 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00020184 35L jtl: African Studies issn: 00020184 maglogo: N pubinfo: dt: Sep/Dec2023 vid: 82 iid: 3/4 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 176121183 10.1080/00020184.2023.2298301 ppf: 241 ppct: 23 formats: fmt: – @attributes: type: T – @attributes: type: P size: 2.9MB tig: atl: Popular Culture and Decolonisation: Themes, Tropes and Trajectories in Nigerian Hip Hop. aug: au: Onanuga, Paul Ayodele affil: Federal University Oye-Ekiti, Nigeria su: Hip-hop culture Decolonization Postcolonialism Music videos Cultural production Cultural ecology Popular culture sug: subj: Hip-hop culture Decolonization Postcolonialism Music videos Cultural production Cultural ecology Popular culture keyword: authenticity cultural epistemology decolonisation globalisation Nigerian hip hop ab: Contemporarily, the drive for decolonisation following the virulence of the colonial experience on postcolonial societies has gained currency. This has been in the face of pervasive, hegemonic Global North structures that have de-centred non-Western epistemologies. This article engages Nigerian hip hop as a cultural product that has consciously or unconsciously been wielded as a tool for the contestation of (post)colonial subjugation and authorities. I ask if Nigerian hip hop artistes can be remarked as decolonisation activists. To what extent do their creative energies contribute to the discourses on decolonisation? To provide answers, the study interrogates the diverse ways through which Nigerian hip hop has successfully navigated its dispersal and resultant commercialisation, subliminally aiding the decolonisation advocacies. The study employs an eclectic mix of representative data, ranging from music lyrics, videos, existing interviews of hip hop artists and aficionados and news reports. More specifically, lyrics from twelve tracks and four music videos are discussed, while observations are asserted or rebutted with statements from interviews and news reports. Decolonisation through lyrics and visuality, and ramifications of spatial decolonisation were identified. The study further asserts that despite the manifestations of decolonisation in Nigerian hip hop, relics of colonial tropes manifest for instance in the need for validation and external acceptance through international awards. Critical takeaways are that cultural productions are not immune to the suffusing influences of politics. In addition, decolonisation should not imply the erasure of hitherto existing hegemonies; rather, cultural ecologies become enriched when previously suppressed products and epistemologies are enabled to thrive. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of African Studies 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: African Studies holder: Taylor & Francis Ltd dt: @attributes: year: 2023 holdings: @attributes: islocal: N |
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