阿克拉的语言、真实性和嬉皮音乐

IF 0.9 2区社会学 Q2 CULTURAL STUDIES

Journal of African Cultural Studies Pub Date : 2023-11-14 DOI:10.1080/13696815.2023.2274846

Nii Kotei Nikoi

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Recently, language den global marketability come turn focus of debate for the Ghanaian entertainment industry. For here, indigenization dey become central to de way Ghanaian artists dey want make dema music then identity go international. I dey argue say de global music industry be some authenticating mechanism wey e dey legitimize local music by de way e dey determine what be musically possible.KEYWORDS: LanguageauthenticityhiplifeAfrican hip-hop AcknowledgmentsThanks to Ghanaian multimedia artist moshood for help with the translation of the Ghanaian pidgin abstract.Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 Personal communication, 12 June 2015.2 “Living the Hiplife,” Jesse Shipley, 19 January 2019, 27:20. Accessed October 15, 2022. https://vimeo.com/314152616.3 “Being an Artist in Ghana. The Harsh Realities – Ko-Jo Cue (#BehindTheMusic),” BeatPhreaks, 21 July 2017, 12:28. Accessed July 25, 2023. https://www.youtube.com/watch?v=BScQNOFpAB0.4 “Face to Face with Rapper and Musician, M.anifest,” CitiTube, 4 August 2020, 07:39. Accessed February 20, 2022. https://youtu.be/VhIo86mvHD0.5 See “Keshey: The New Slang Spreading Through High Schools in Kumasi.” https://www.myjoyonline.com/keshey-the-new-slang-spreading-through-high-schools-in-kumasi/.6 See “This is Kumerica.” https://youtu.be/OE0JAvcaBig?si=x_sAACnkBVe6meVU.7 Personal communication, 29 September 2017.8 Personal communication, 21 November 2017.9 Ibid.10 Personal communication, 21 November 2017.11 Personal communication, 21 November 2017.12 Personal communication, 5 January 2018.13 Ibid.14 I am grateful to Sionne Neely for this. In her performance at Brazil House, she reminded me of how the body is an “archive.”15 See “Accra reclaims hip hop.” http://news.bbc.co.uk/2/hi/africa/3241007.stm.16 “CNN Goes on a Drive with M.anifest and Talk Speaking ‘Big English’ & More,” 21 July 2021, 1:26. https://www.youtube.com/watch?v=wRuaAG7ENlk.17 “Eno Barony Best Female Rapper in Ghana freestyles on Zylofon fm,” Oscar Asaah, 12 October 2020, 1:54. Accessed August 11, 2023. https://youtu.be/wcOPUwpooZ8.18 Ibid., 1:59.19 “HHAP Episode 17: Abena Rockstar on Hip Hop and the Music Industry in Ghana,” Hip Hop African Podcast, 2 December 2017, 30:58. Accessed August 11, 2023. https://hiphopafrican.com/hhap-episode-17-abena-rockstar-on-hip-hop-and-the-music-industry-in-ghana/.20 Personal communication, 10 August 2017.21 https://myjoyonline.com/eno-barony-wins-rapper-of-the-year-award/.22 “Does Language Matter in Music Marketability?,” @Joy997FM, 7 June 2023. 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引用次数: 0

摘要

摘要本文探讨了生活中语言的本土化如何成为一种真实性的标志，同时也成为一种“出售我们文化”的跨国商品化项目。最近，语言和全球市场已经成为加纳娱乐行业辩论的焦点。在这里，本土化成为一些加纳表演者希望他们的音乐和身份在全球传播的核心。我认为，全球音乐产业可以被视为一种认证机制，以一种可以在当地背景下定义音乐可能性视野的方式使音乐合法化。在加纳PIDGINDe的一篇文章中，他们研究了生活语言的本土化如何成为真实性的标志，同时也是“出售我们的文化”的跨国商品化项目。最近，语言和全球市场成为加纳娱乐行业争论的焦点。在这里，本土化成为加纳艺术家的核心他们想让自己的音乐走向国际。他们认为全球音乐产业是一种认证机制，通过他们确定什么是音乐上可能的方式来使本地音乐合法化。感谢加纳多媒体艺术家moshood在翻译加纳混杂语摘要方面提供的帮助。披露声明作者未报告潜在的利益冲突。注1:《个人沟通》，2015年6月12日。2 .《嘻哈生活》，Jesse Shipley, 2019年1月19日，27:20。于2022年10月15日生效。https://vimeo.com/314152616.3“成为加纳的艺术家。严酷的现实- Ko-Jo Cue (# behind indthemusic)，”BeatPhreaks, 2017年7月21日，12:28。2023年7月25日访问。https://www.youtube.com/watch?v=BScQNOFpAB0.4“与说唱歌手和音乐家面对面，m.h anifest”，CitiTube, 2020年8月4日，07:39。于2022年2月20日生效。https://youtu.be/VhIo86mvHD0.5参见“Keshey:在库马西高中传播的新俚语”。https://www.myjoyonline.com/keshey-the-new-slang-spreading-through-high-schools-in-kumasi/.6看“这是美国。”https://youtu.be/OE0JAvcaBig?si=x_sAACnkBVe6meVU.7《个人沟通》，2017.8《个人沟通》，2017.9《个人沟通》，2017.9《个人沟通》，2017.11月21日《个人沟通》，2017.11月21日《个人沟通》，2017.12《个人沟通》，2018.1月5日《个人沟通》，2018.13《个人沟通》，2018.14为此我非常感谢Sionne Neely。在巴西之家的表演中，她提醒我，身体是一个“档案馆”。《15 See》阿克拉复兴嘻哈。“http://news.bbc.co.uk/2/hi/africa/3241007.stm.16”CNN与M.anifest和Talk一起开车说“大英语”及更多，“2021年7月21日，1:26。https://www.youtube.com/watch?v=wRuaAG7ENlk.17“Eno Barony在Zylofon fm上获得加纳最佳女歌手自由式比赛”，Oscar Asaah, 2020年10月12日，1:54。2023年8月11日访问。https://youtu.be/wcOPUwpooZ8.18同上，1:59.19“HHAP Episode 17: Abena Rockstar on Hip Hop and Music Industry in Ghana”，嘻哈非洲播客，2017年12月2日，30:58。2023年8月11日访问。https://hiphopafrican.com/hhap-episode-17-abena-rockstar-on-hip-hop-and-the-music-industry-in-ghana/.20《个人传播》，2017年8月10日https://myjoyonline.com/eno-barony-wins-rapper-of-the-year-award/.22“语言对音乐的市场化有影响吗?”@Joy997FM, 2023年6月7日。2023年6月7日访问。https://twitter.com/Joy997FM/status/1666534555216486400.23同上，23:14.24同上，29:59.25同上，39:27.26同上，1:22:30.27“萨科齐-在法国24的采访，”2015年10月23日，萨科奇官方。2018年2月19日发布。https://www.youtube.com/watch?v=xUABmW3nzG8.28《个人沟通》，2017年11月30日。29《面对面与说唱歌手、音乐人、M.anifest》，CitiTube, 2020年8月4日，10:40。于2022年2月20日生效。https://youtu.be/VhIo86mvHD0.30同上，11:05.31饶舌歌手兼制作人Mεnsa在推特上的抱怨引起了我的注意。参见https://support.distrokid.com/hc/en-us/articles/360013534734-Why-Isn-t-My-Language-in-the-List-of-Languages-.32 https://www.grammy.com/news/three-new-categories-added-for-the-2024-grammys.33 https://twitter.com/nakufoaddo/status/1290034937848934402.34《莎塔·威尔对碧昂斯狮子王专题的首次采访:事情是怎么发生的以及萨科齐的冷落》，萨米Flex TV, 2019年7月17日，12:15。于2019年7月19日发布。https://www.youtube.com/watch?v=SeUU3qSQKzM.35同上36 https://www.thefader.com/2020/08/14/black-is-king-is-directors-interview。

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Language, Authenticity, and Hiplife Music in Accra

ABSTRACTThis article examines how the indigenization of language in hiplife becomes a marker of authenticity and, at the same time, a project of transnational commodification to “sell our culture”. Recently, language and global marketability have become a focus of debate in the Ghanaian entertainment industry. Here, indigenization becomes central to how some Ghanaian performers want their music and identity to circulate globally. I argue that the global music industry can be regarded as an authenticating mechanism legitimizing musics in a way that can define the horizons of musical possibility in local contexts.ABSTRACT IN GHANAIAN PIDGINDe article dey examine how the indigenization of language for hiplife dey become marker of authenticity, wey at de same time e be transnational commodification project to “sell our culture”. Recently, language den global marketability come turn focus of debate for the Ghanaian entertainment industry. For here, indigenization dey become central to de way Ghanaian artists dey want make dema music then identity go international. I dey argue say de global music industry be some authenticating mechanism wey e dey legitimize local music by de way e dey determine what be musically possible.KEYWORDS: LanguageauthenticityhiplifeAfrican hip-hop AcknowledgmentsThanks to Ghanaian multimedia artist moshood for help with the translation of the Ghanaian pidgin abstract.Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 Personal communication, 12 June 2015.2 “Living the Hiplife,” Jesse Shipley, 19 January 2019, 27:20. Accessed October 15, 2022. https://vimeo.com/314152616.3 “Being an Artist in Ghana. The Harsh Realities – Ko-Jo Cue (#BehindTheMusic),” BeatPhreaks, 21 July 2017, 12:28. Accessed July 25, 2023. https://www.youtube.com/watch?v=BScQNOFpAB0.4 “Face to Face with Rapper and Musician, M.anifest,” CitiTube, 4 August 2020, 07:39. Accessed February 20, 2022. https://youtu.be/VhIo86mvHD0.5 See “Keshey: The New Slang Spreading Through High Schools in Kumasi.” https://www.myjoyonline.com/keshey-the-new-slang-spreading-through-high-schools-in-kumasi/.6 See “This is Kumerica.” https://youtu.be/OE0JAvcaBig?si=x_sAACnkBVe6meVU.7 Personal communication, 29 September 2017.8 Personal communication, 21 November 2017.9 Ibid.10 Personal communication, 21 November 2017.11 Personal communication, 21 November 2017.12 Personal communication, 5 January 2018.13 Ibid.14 I am grateful to Sionne Neely for this. In her performance at Brazil House, she reminded me of how the body is an “archive.”15 See “Accra reclaims hip hop.” http://news.bbc.co.uk/2/hi/africa/3241007.stm.16 “CNN Goes on a Drive with M.anifest and Talk Speaking ‘Big English’ & More,” 21 July 2021, 1:26. https://www.youtube.com/watch?v=wRuaAG7ENlk.17 “Eno Barony Best Female Rapper in Ghana freestyles on Zylofon fm,” Oscar Asaah, 12 October 2020, 1:54. Accessed August 11, 2023. https://youtu.be/wcOPUwpooZ8.18 Ibid., 1:59.19 “HHAP Episode 17: Abena Rockstar on Hip Hop and the Music Industry in Ghana,” Hip Hop African Podcast, 2 December 2017, 30:58. Accessed August 11, 2023. https://hiphopafrican.com/hhap-episode-17-abena-rockstar-on-hip-hop-and-the-music-industry-in-ghana/.20 Personal communication, 10 August 2017.21 https://myjoyonline.com/eno-barony-wins-rapper-of-the-year-award/.22 “Does Language Matter in Music Marketability?,” @Joy997FM, 7 June 2023. Accessed June 7, 2023. https://twitter.com/Joy997FM/status/1666534555216486400.23 Ibid., 23:14.24 Ibid., 29:59.25 Ibid., 39:27.26 Ibid., 1:22:30.27 “Sarkodie – Interview at France 24,” OfficialSarkodie, 23 October 2015. Accessed February 19, 2018. https://www.youtube.com/watch?v=xUABmW3nzG8.28 Personal communication, 30 November 2017.29 “Face to Face with Rapper and Musician, M.anifest,” CitiTube, 4 August 2020, 10:40. Accessed February 20, 2022. https://youtu.be/VhIo86mvHD0.30 Ibid., 11:05.31 Rapper and producer, Mεnsa’s complaint about this on Twitter drew my attention to this. See https://support.distrokid.com/hc/en-us/articles/360013534734-Why-Isn-t-My-Language-in-the-List-of-Languages-.32 https://www.grammy.com/news/three-new-categories-added-for-the-2024-grammys.33 https://twitter.com/nakufoaddo/status/1290034937848934402.34 “First Interview from Shatta Wale on Beyonce Lion King Feature: How It Happened & the Sarkodie Snub,” Sammy Flex TV, 17 July 2019, 12:15. Accessed July 19, 2019. https://www.youtube.com/watch?v=SeUU3qSQKzM.35 Ibid.36 https://www.thefader.com/2020/08/14/black-is-king-is-directors-interview.

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来源期刊

Journal of African Cultural Studies Multiple-

CiteScore

1.70

自引率

10.00%

发文量

期刊介绍： The Journal of African Cultural Studies publishes leading scholarship on African culture from inside and outside Africa, with a special commitment to Africa-based authors and to African languages. Our editorial policy encourages an interdisciplinary approach, involving humanities, including environmental humanities. The journal focuses on dimensions of African culture, performance arts, visual arts, music, cinema, the role of the media, the relationship between culture and power, as well as issues within such fields as popular culture in Africa, sociolinguistic topics of cultural interest, and culture and gender. We welcome in particular articles that show evidence of understanding life on the ground, and that demonstrate local knowledge and linguistic competence. We do not publish articles that offer mostly textual analyses of cultural products like novels and films, nor articles that are mostly historical or those based primarily on secondary (such as digital and library) sources. The journal has evolved from the journal African Languages and Cultures, founded in 1988 in the Department of the Languages and Cultures of Africa at the School of Oriental and African Studies, London. From 2019, it is published in association with the International African Institute, London. Journal of African Cultural Studies publishes original research articles. The journal also publishes an occasional Contemporary Conversations section, in which authors respond to current issues. The section has included reviews, interviews and invited response or position papers. We welcome proposals for future Contemporary Conversations themes.