'Are Real Women Just Bad Porn?': Women in Nigerian Hip-hop Culture

Abstract

Introduction David Wolper, in an interview about his production of Los Angeles Olympic ceremonies stated: we are going to have lots of music, because music is United States' gift to (24). This statement shows overwhelming influence of American music on music of other world cultures. The last two decades have witnessed tremendous growth in Hip-hop music culture in Nigeria. Numerous studies have equally demonstrated significant rise and development of genre among youth. (Omoniyi, 2008; Omojola, 2006; Ssewakiryanga, 1999). Because of its enormous appeal, it has also been used as a medium for expressing a variety of ideas, feelings, and emotions. However, there has been a growing concern on negative impact of music on perception of women in society. In spite of seeming financial success and popularity of musicians, hip-hop culture is frequently condemned for its misogynistic exploitation of women. This paper examines misogynistic ideologies expressed in Nigeria's Hip-hop and rap and its implication on larger society. It will also examine effects Hip-hop lyrics and videos (which contains images of women in sexually subordinate roles) on youths, stemming from its focus and promotion of sex, drugs, crime and misogyny. Theoretical Concepts The theory of inter-culturation and trans-culturation is used as framework for this study. Inter-culturation is formation of a new culture based on encounters from multiple cultures interacting together (Gault 15). This is significant today for social theorists working outside their cultural boundaries for interpreting dynamics of cultural change globally. The term transculturation was coined in 1940s by sociologist Fernando Oritz to describe process by which a conquered people choose and select what aspects of dominant culture they will assume (Pratt 589).The development of popular music over years is hinged on cultural changes which, according to Hall are product of negotiation, resistance and transformation (23). This statement was also corroborated by Said who stated that cultures are involved in one another. None is single and pure. All are hybrid, heterogeneous, extraordinarily differentiated and unmonolithic. (45). Rice identified two categories of musicians in world music--those who seek to strategically position themselves as locally authentic and those who seek to embody or reconnect with ethnic or national traditions and histories (151). He however stressed that there are those who seek to become transnational performers or, at best, seek to resist any sense of bounded or fixed identity (Rice 157). Of this group, in my opinion, is position of Nigerian Hip-hop music. Hip-hop culture evolved from United States of America. However, concept has found its way into developing countries as a result of acculturation which introduced new styles and communities of taste, negotiating cultural differences through musical manipulation of symbolic associations (Waterman 47). Consequently, changes reflect new contexts, technologies, opportunities and performing situations. Origins of Hip-hop There are several positions on origin of Hip-hop. On evolution of Hip-hop music, Kevin Powell states that Hip-hop's roots are not Jamaican, nor Puerto Rican, nor African-American, but African (Powell 2010). This was further substantiated by Keyes who observed that the distinctive vocal techniques employed in rapping can be traced from African bardic traditions to rural southern game songs and allied forms--all of which are chanted in a rhyme or poetic fashion (40). However conceptualization of present day Hip-hop phenomenon originated in New York during early 1970's as a form of African American street culture (Bernett 78). Aware of inner city tension that were being created as a consequence of urban renewal programs and economic recession, a street gang member, who called himself AfrikaBambaaka, formed Zulu Nation on an attempt to channel anger of young people in South Bronx away from fighting into music, dance and graffiti (Lipseitz 26). …

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