{"title":"Language, Authenticity, and Hiplife Music in Accra","authors":"Nii Kotei Nikoi","doi":"10.1080/13696815.2023.2274846","DOIUrl":null,"url":null,"abstract":"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.","PeriodicalId":45196,"journal":{"name":"Journal of African Cultural Studies","volume":"42 10","pages":"0"},"PeriodicalIF":0.9000,"publicationDate":"2023-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of African Cultural Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/13696815.2023.2274846","RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"CULTURAL STUDIES","Score":null,"Total":0}
引用次数: 0
Abstract
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.
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.