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Performing Locale in Nigerian Rap Music: The Forces of Intertextuality and Appropriation

By Institute Of African Studies, University Of Nigeria, Nsukka.

Summary

Abstract
Scholars of Popular music are now studying how people use music as a channel for conceiving places and (de-) or (re-) constructing locality-based identities.1 This article shows how arbitrated popular musics can be a native resource for identity construction, as well as how practices of the production and consumption of popular music are concurrently expressive practices for visualizing and performing locale. The discussion will also bounce around musical features of globalization. Consequently, I draw from and apply contemporary cultural theory to the study of popular music concepts like localization, glocalization, indigenization, and domestication to describe processes by which people engage with, appropriate, and locally place, displace, emplace or even re-emplace globally circulating musical products, styles, and genres. Specifically, my analysis of how rappers use aspects of song texts, musical style, and multimedia imagery as vehicles for envisioning territory is accomplished by a fusion of the creative and cultural studies/approaches to rap music. For this purpose, I shall rely on the song ‘Lagoscity’ by the Nigerian rap musician called Tupengo. In all, this article submits that Nigerian rappers understand that the discourse of Hip-hop, particularly rap typically includes the custom of representing locale, which is accomplished using intertextuality to appropriate from Nigerian popular culture, as well as the globalized AfroAmerican rap idiom.
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About the Author

Institute Of African Studies, University Of Nigeria, Nsukka.

http://www.unn.edu.ng/academics/institute/institute-of-african-studies-2/
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