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Escapist Discourse Strategies in the Linguistic and Nonlinguistic Expressions of Sex and Sexuality in Nigerian Hip-Hop Lyrics and Videos

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Escapist Discourse Strategies in the Linguistic and Nonlinguistic Expressions of Sex and Sexuality in Nigerian Hip-Hop Lyrics and Videos ESCAPIST DISCOURSE STRATEGIES IN THE LINGUISTIC AND NONLINGUISTIC EXPRESSIONS OF SEX AND SEXUALITY IN NIGERIAN HIP-HOP LYRICS AND VIDEOS BY ADEOLA OLUWAGBEMINIYI OJOAWO Matric No: 159565 B.A. (Ife); M.A. (Ibadan) A Thesis in the Department of English Submitted to the Faculty of Arts in partial fulfilment of the requirements for the Degree of DOCTOR OF PHILOSOPHY of the UNIVERSITY OF IBADAN JULY, 2016 DEDICATION This work is dedicated to the Almighty, who knew me before I was formed, and to the people I call family. ii ACKNOWLEDGEMENTS Firstly, my appreciation goes to Almighty God who saw me through and indeed confirms his word in my life. He gave me the word “possible” and made me run by it. Special thanks to my parents, Dr and Mrs Bolanle Ojoawo. My father‟s life, as a scholar and goal getter, motivated me as a young girl and it has always been my dream to bag this degree one day. However, this dream would not have been achieved if my mother did not stand by me. She encourages me with her words, care, prayers and her “widow‟s mite”. I love you mum!!! My siblings: Akintomide Abiodun and Ayomide Abiodun, what can I do without you? I feel blessed to have you. Your consistent follow-up ensured no room for failure. I want to also thank my meticulous supervisor, Dr A.B. Sunday, for his patience, emotional intelligence, support, guidance, encouragement, advice and the confidence he had in me throughout my time as his student. I dare to say I have been extremely fortunate to have such a brilliant guiding angel, because completing this work would have been so difficult even unachievable without him. I owe sincere gratitude to all my teachers in the Department of English, especially those ones who have provided guidance; Prof. Remi Raji, Dr R.O. Olaniyi in History, Dr A. Odebunmi, Prof. Dele Adeyanju, Prof. A. Akinjobi, Dr O. Olawuyi, Prof. O. Oha, Dr Ojebode, in CLA, Dr Doyin Agouru, Prof. Fakoya, Dr A. Lewis. God bless you all. My gratitude also to my adopted father, Mr. Olukunle Iyanda, for his support; and his wife, who kept asking about the progress of my research. I love you. I am also grateful to all my friends: Deborah Eshette, Rotimi Ogungbemi, Daniel Ajayi, Olukunle Ojo, Olufunke Atolagbe, Abimbola Soneye, Temilolu Akeredolu, Adesola Adeniyi, Tejiri Tialobi, Bimpe Adeoye, the Ajayi‟s family. Also, I am eternally grateful to Efe Ajayi, who called my attention to much of my potentials and Seyi Sams Emmanuel, whom I drew the inspiration to carry the research from. Mr Isreal Fadipe who encouraged me and gave some books when I was writing my proposal.I am also indebted to Oluwatunolase Abefe Akinola, who bought me the laptop I used in carrying out this research. Babcock staff, ISGPP teammates. You all, are the best. iii Lastly, the acknowledgements will not be complete if I fail to thank my project partner. the love of my life, whom I met and I felt alive again. He has indeed been a blessing to me. His unquantifiable sacrifices, objective criticisms and even his assistance in the development of my framework cannot be overlooked. Your view and push about life kept reminding me that I cannot afford to be a mediocre. I love you! A.O Ojoawo April, 2016 iv CERTIFICATION I certify that this work was carried out by Miss Adeola Oluwagbeminiyi Ojoawo in the Department of English, University of Ibadan, under my supervision. ……………………………………………………………………… Supervisor A.B. Sunday B.A., M.A., Ph.D. (Ibadan) Department, University of Ibadan, Nigeria. v TABLE OF CONTENTS Title page i Dedication ii Acknowledgements iii Certification v Table of contents vi List of plates x List of tables xiv List of figures xv List of abbreviations xvi Abstract xvii CHAPTER ONE: INTRODUCTION 1.1 Background of the study 1 1.2 Statement of the problem 3 1.3 Aim and objectives of the study 4 1.4 Scope of the study 4 1.5 Significance of the study 5 1.6 Brief history of Hip-hop music 6 1.6.1 The spread of Hip-hop music 7 1.6.2 Hip-hop in Africa 8 1.7 A brief history and the state of Nigerian Hip-hop music 9 1.8 Defintion of terms 10 1.8.1 Sex and sexuality 10 1.8.2 Cultural norms about sex and sexuality 11 1.8.3 Escapism 13 1.8.4 Non-linguistic expressions 15 1.9 Summary 15 CHAPTER TWO: REVIEW OF RELEVANT LITERATURE AND THEORETICAL ISSUES 2.0 Introduction 16 2.1 Expressing sex and sexuality 16 vi 2.2 An overview music 19 2.2.1 Popular music 20 2.2.2 Hip-hop in Africa 23 2.2.3 Functions and role of Hip-hop music 24 2.2.4 The emergence of Hip-hop music in Nigeria 27 2.2.5 Functions and roles of Hip-hop in Nigeria 28 2.3 Social effects of Hip-hop music 30 2.4 Sociolinguistic effects of Hip-hop 31 2.5 Psycholinguistic effect of Hip-hop music 33 2.6 Pragmatic effect of Hip-hop 34 2.7 Hip-hop music: sex and sexual themes 37 2.8 Ideology 41 2.9 Theoretical framework 42 2.9.1 Multimodality theory 42 2.9.2 Multimodality and multi-literacy as new literacy 45 2.9.3 Organisation of the theory 45 2.9.3.1 Modes 46 2.9.3.2 Mode density 46 2.8.3.3 Input and output modes 46 2.8.3.4 Medium 47 2.10 Summary 58 CHAPTER THREE: METHODOLOGY 3.0 Introduction 59 3.1 Procedure of data collection 59 3.2 Brief biographies of the artistes 60 3.2.3 Sampling procedure 65 3.3 Procedure data analysis 66 3.4 Summary 67 CHAPTER FOUR LINGUISTIC USED TO EXPRESS SEX AND SEXUALITY 4.0 Introduction 68 4.1 Escapist linguistic devices 68 4.1.1 Suggestiveness: Sexual innuendos 68 vii 4.1.2 Coinage 77 4.1.3 New sense inclusion: semantic extension 79 4.1.4 Veiling 83 4.1.5 Hedging: Code switching, code-mixing and slangy expressions 86 4.1.6 Reiterative strategy: Repetition 92 4.1.7 Avoidance strategy: substitution and ellipsis 98 4.1.8 Metaphorisation 105 4.1.9 Indirectedness: ambiguity 109 4.1.10 Sexual sounds: Onomatopoeia 117 4.1.12 Cajoling strategy: hyperbole 118 4.1.13 Descriptive strategy: reference 121 4.2 Restrictions 123 4.2.1 Linguistic restriction 124 4.3 Negotiating language 124 4.4 Summary 126 CHAPTER FIVE: ESCAPIST NONLINGUISTIC STRATEGIES USED IN THE EXPRESSION OF SEX AND SEXUALITY 5.0 Introduction 127 5.1 Sexual dance 127 5.1.1 Twerking, grinding and dry sex 128 5.1.2 Grinding as sexual dance 135 5.2 Sexual gestures 143 5.2.1 The use of index finger 143 5.2.2 Suggestive look 144 5.2.3 Breast flashing and heaving 151 5.2.4 Use of the tongue 153 5.2.5 Buttocks flashing 157 5.3 Focusing on sexual objects 161 5.4 Alluring dressing as costume 163 5.5 Flirting and caressing 167 5.6 The role of context in Nigerian Hip-hop music 175 5.7 Strategies employed in engaging social and cultural restrictions 177 5.7.1 Social restriction 177 viii 5.8 Negotiating behaviour 177 5.9 Social artefacts and modes in the Hip-hop songs 179 5.10 Escapist medium charts for all the selected videos and songs 180 5. 11 Summary 199 CHAPTER SIX: SUMMARY FINDINGS AND RECOMMENDATIONS 6.1 Summary 200 6.2 Summary of the findings 201 6.2 Implications of findings 204 6.3 Conclusion 206 6.3 Recommendations 208 References 210 Appendix 225 ix LIST OF PLATES Plate5.1: Twerking in Tiwa Savage “wanted” 128 Plate 5.2: Twerking in Olamide‟s “Ibebe” 129 Plate5.3: Twerking in Wande Coal‟s “The Kick” 129 Plate5.4: Twerking in Wande Coal‟s “The Kick” 130 Plate5.5. Twerking in Runtown‟s “Bend down pause” 130 Plate5.6: Twerking in Runtown‟s “Bend down pause” 131 Plate5.7: Twerking in Runtown‟s “Bend down pause” 131 Plate5.8: Twerking in Oritsefemi‟s “Redi” 132 Plate5.9: Twerking in Oritsefemi‟s “Redi 132 Plate5.10: Twerking in Olamide‟s “Story for the gods” 133 Plate5.11: Twerking in Sèyí Shay‟s “Murda” 133 Plate5.12: Twerking in Sèyí Shay‟s “Murda” 134 Plate5.13: Twerking in Tiwa Savage‟s “Without My Heart” 134 Plate5.14: Twerking in Oritsefemi‟s “Sexy ladies” 135 Plate5.15: Grinding inSèyí Shay‟s “Murda” 136 Plate5.16: Grinding Runtown‟s “Bend down pause” 136 Plate5.17: Grinding in Runtown‟s “Bend down pause” 137 Plate5.18: Grinding in Runtown‟s “Bend down pause” 137 Plate5.19: Grinding in Oritsefemi‟s “Redi” 138 Plate5.20: Grinding in Oritsefemi‟s “Redi 138 Plate5.21: Grinding in Oritsefemi‟s “Redi 139 Plate5.22: Grinding in Oritsefemi‟s “Redi 139 Plate5.23: Grinding in Oritsefemi‟s “Redi 140 Plate5.24: Grinding as a form of dry sex in Oritsefemi‟s “Redi 141 Plate5.25: Grinding in Sèyí Shay‟s “Murda” 141 Plate5.26. Grinding in Sèyí Shay‟s “Crazy” 142 Plate 5.27: Grinding in Oritsefemi‟s “Sexy ladies” 142 x Plate5.28: Index finger in Tiwa Savage‟s “Without my heart 144 Plate5.29: Suggestive look in Seyi Shay‟s “Crazy” 144 Plate5.30: Suggestive look in Wizkid “Sound it” 145 Plate5.31: Suggestive look combined with genuflecting in Runtown in “Bend down pause” 145 Plate5.32: Suggestive look in Oritsefemi‟s “Redi 146 Plate5.33: Suggestive look in Wizkid “Sound it” 146 Plate5.34: Suggestive look in Wizkid “Sound it” 147 Plate5.35: Suggestive look in “Gallardo” by Runtown 147 Plate5.36: Suggestive look in Tiwa Savage‟s “Without my heart” 148 Plate5.37.
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