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Access to Electronic Thesis Author: Adewale Adedeji Thesis title: Yoruba Culture & its Influence on the Development of Modern Popular Music in Nigeria Qualification: PhD This electronic thesis is protected by the Copyright, Designs and Patents Act 1988. No reproduction is permitted without consent of the author. It is also protected by the Creative Commons Licence allowing Attributions-Non-commercial-No derivatives. If this electronic thesis has been edited by the author it will be indicated as such on the title page and in the text. The University of Sheffield Department of Music YORUBA CULTURE AND ITS INFLUENCE ON THE DEVELOPMENT OF MODERN POPULAR MUSIC IN NIGERIA Adewale Adedeji Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Music December 2010 ABSTRACT YORÙBÁ CULTURE AND ITS INFLUENCE ON THE DEVELOPMENT OF MODERN POPULAR MUSIC IN NIGERIA This thesis focuses on the contributions of the Yorùbá culture to the development of modern Nigerian popular music. It traces the origin, conception and growth of popular music styles in Nigeria and highlights the underlying Yorùbá cultural cum linguistic influence that nurtured their growth within the urban space of Lagos city. It examines how contemporary Nigerian popular music practitioners appropriate the Yorùbá culture in negotiating their musical and national identities and counteract popular music homogenization through the creation of hybrid musical styles and cultures. The work adopts a multi-dimensional research approach that involves cultural, musicological, historical, anthropological and socio-linguistical tools. Adopting the participant- observer method with Lagos as the primary fieldwork site, additional data were sourced along with interviews of key informants through bibliographic and discographic methods. The study reveals the importance of Lagos as a major factor that contributed to the development of Nigeria‘s popular music practice as exemplified in genres like jùjú, fújì and afrobeat, and discovers that the Yorùbá language has gradually become the dominant medium through which artists express their musical identity as typified by current mainstream hip hop music. Extending earlier work by scholars such as Barber, Waterman and Euba and recent works in hip hop linguistics by Alim and Omoniyi, the thesis contributes to the growing body of research within popular music through the discipline of ethnomusicology, especially in the emerging area of academic inquiry into indigenous African hip hop culture. 1 DEDICATION This work is dedicated to the memory of my father Chief Daniel Ayòadé Adédèjì (1921-2009). I will never forget all that you taught me and your words will continue to be a source of inspiration to me. I will never forget your love, kindness and selflessness. I miss you Daddy. 2 ACKNOWLEDGEMENTS This thesis is a product of encouragement and support from many that deserve my thanks and appreciation. First I would like to thank my teacher and ‗friend‘ way back as an undergraduate at the University of Ibadan, Dr Lanrele Bamidele who over the years has been a source of encouragement for me academically. I also want to show my appreciation to the University of Sheffield for the fee scholarship and the entire Music Department staff for their kindness and support during the period of this study. My supervisor, Dr Andrew Killick deserves a very special mention. He is a great teacher and friend who has been of tremendous assistance without whom this work would not have been possible. I have learnt a lot from your pool of experience intellectually and your kindness and thoughtfulness saw me this far, I am most grateful. Additional thanks goes to Dr Kathleen Van Buren, my second supervisor from whom I have also learnt a great deal. To all my friends who have supported me over the years and during this study I am greatful especially ‗Soji Tayo and Uncle Moses Ojo. To Teslim Giwa, Faith da Doc, Ebi Apo-Clark (Southern Playas), Seyi Adabale, AZ-Love, Juwon Ogungbe, Kunle Olawuni, Tai Olutayo (Mr Tee), Sunne Mi, and Dapo Idowu (Otaaa) I am most grateful. To all who assisted during the fieldwork in Lagos, I really appreciate your efforts especially my friend Baba Dee, ID Cabasa and Efe Omorogbe thanks a lot. To my entire family thanks for your support especially to my mother, I am most greatful. To Mr B, Sky D, Nikbol, Bro Femi thanks a lot. And to Moomi and the ‗Ojos‘ thanks for being there. 3 And this very special one to my lovely wife, and best friend, Oluwatosin I am giving you the biggest thank of all.Thanks so much for believing in me and my potentials. This is happening because you are there, your love kindness and support provided the needed stability to make this happen. Thanks you so much. Above all to God be the glory for the energy and good health. 4 CONTENTS Abstract 1 Dedication 2 Acknowledgements 3 List of Figures 8 Chapter One Introduction 10 1:1 Background to Study 12 1:2 The Beginning 14 1:3 Aim and Purpose of Research 17 1:4 Scope of Study 18 1:5 Research Questions 19 1:6 Research Methodology 20 1:7 Fieldwork Experience 21 1:8 Preview of Chapters 24 Chapter Two Definition of Concepts and Theoretical Framework 27 2:1 Introduction 27 2:2 Popular Music, Language, Culture and The Issue of Identity 27 2:3 Nigerian Music:Between‗Popular‘/‗Contemporary‘and‗Traditional‘/‗Folk‘ 38 Chapter Three An Introduction to Nigeria and the Yorùbá People 44 3:1 Introduction 44 3:2 Nigeria: A Short Profile 44 3:3 The Yorùbá people: Historical Background 55 3:4 The Yorùbá Arts and Cultural Worldview 59 3:5 Lagos City and The Evolution of Nigeria‘s Urban Popular Culture 60 3:6 Conclusions: Nigeria‘s Urban Popular Culture and The Yoruba influence. 74 5 Chapter Four Nigeria: What Manner of Music? 75 4:1 Introduction 75 4:2 Nigerian Popular Music: An Overview 75 4:3 Nigerian Popular Music: The Nation and Process of Emergence 79 4:4 Styles of Popular Music in Nigeria 82 4:5 The Nigerian Popular Music and the Underlying Yorùbá Influence 102 4:6 Conclusion 111 Chapter Five The Nigerian Hip Hop Scene and the ‘Afro Hip Hop’ Identity 112 5:1 Introduction 112 5:2 Origin of Hip Hop 112 5:3 Background to Nigeria‘s Hip Hop 116 5:4 Hip Hop, ‗The Street‘ and The Nigerian Experience 122 5:5 Nigeria‘s Afro Hip Hop: Style and Peculiarities 130 5:6 Major Themes in Nigeria‘s Afro Hip Hop 139 5:7 Afro Hip Hop: Why Yorùbáis the Preferred Medium of Communication 153 5:8 Conclusion 167 Chapter Six ‘Ruggedy Baba’: An Afro Hip Hop Case Study 169 6:1 Introduction 169 6:2 Ruggedman: Artist Profile 170 6:3 ‗Ruggedy Baba‘- Lyrics and Translation 172 6:4 The Yorùbá Influence in ‗Ruggedy Baba‘ 176 6:5 ‗Ruggedy Baba‘ and The Negotiation of Nigerian Identity 180 6:6 Backgrounds to Popular Music Video and The Nigerian Experience 185 6:7 ‗Ruggedy Baba‘: Video Analysis 192 6:8 Conclusion and Chapter Summary 207 6 Chapter Seven Hip Hop, Fújì and the Use of Yorùbá Culture in Preventing Popular Music Homogenization 210 7:1 Introduction: Hip Hop and Fújì; The Synergy 210 7:2 Hip Hop and Fújì: Yorùbá Connection, Influences and Similarities 211 7:3 Hip Hop, Fújì and the Idea of ‗Fusion‘ and ‗Crossover‘ 220 7:4 Hip Hop and Fújì in Relation to Globalization and Hybridization 238 7:5 Conclusion 243 Chapter Eight The Nigerian Music Industry: Challenges and Possibilities 244 8:1 Introduction 244 8:2 The Nigerian Music industry: An Overview 245 8:3 Exit of Major Recording Labels 251 8:4 The Challenges 254 8:5 Possibilities and Recommendations 262 8:6 Conclusion 263 Summary and Conclusions 265 References 269 Appendix: Accompanying CDs 288 7 LIST OF FIGURES Figure 2:1 Lagbaja! The masked musician 42 Figure 3:1 Map of Nigeria showing major towns and cities 46 Figure 3:2 Map of Nigeria showing principal linguistic groups 47 Figure 3:3 The Yorùbá dùndún talking drum 53 Figure 3:4 CMS in Lagos Island: ‗Lagos life‘coping with city complexities 64 Figure 3:5 Lagbaja! in front of Motherlan‘ Opebi, Lagos 72 Figure 3:6 NIGGA Raw, Muma Gee and 2Face Idiba 73 Figure 4:1 Sir Shina Peters on cover of ACE album 1989 85 Figure 4:2 Dr Sikiru Ayinde Barrister: pioneer fújì musician 88 Figure 4:3 Fela Anikulapo-Kuti: Afrobeat creator 91 Figure 4:4 Tony Allen 91 Figure 4:5 Pa Samuel Adeosun 97 Figure 4:6 Kefee: popular Nigerian gospel artist 100 Figure 4:7 Sound Sultan popular Nigerian hip hop artist 102 Figure 4:8 Amayo standing beside the Gbèdu drum 110 Figure 5:1 Hip Hop World Awards 2009 flyer 122 Figure 5:2 Nigerian hip hop artists‘ code switching feature 137 Figure 6:1 Ruggedman 172 Figure 6:2 Ruggedman holding the Hip Hop World Awards 2008 180 Figure 6:3 Silhouette of the hornsman making the call (video still) 195 Figure 6:4 The mother hen and chickens (video still) 196 Figure 6:5 9ice with the opening line ‗àtéwó mo bálà ‘ 199 Figure 6:6 Ruggedman emphasising ‗mother tongue‘ with gesture 200 Figure 6:7 Maid kneeling to present water to Ruggedman 200 Figure 6:8 9ice genuflecting 203 Figure 6:9 Use of two shots 205 Figure 6:10 The use of cross cutting shots 205 Figure 7:1 Baba Dee 226 Figure 8:1 ID Cabasa at Coded Tunez Studio, Lagos 247 8 Figure 8:2 A view of the audio visual section at Alaba Market, Lagos 256 Figure 8:3 Typical CD/DVD retailer inside Alaba Market 257 Figure 8:4 Estimated trade loss and level of piracy in Nigeria 2002-2006 259 9 CHAPTER ONE INTRODUCTION Nigeria is a country of diverse ethnicity with over two hundred languages and cultures.
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