Abstract This paper discusses the glocal trends in Nigerian hip hop music production in the age of digital communication technology. The concept of music glocalisation explains the local consciousness in music production, dissemination and consumption amid the forces of globalisation. Following the adoption of American hip hop in Nigeria in the 1990s, a renegotiation of hip hop’s cultural authenticity led to the production of localised hip hop with features of preceding popular music genres, especially highlife music. Although highlife was the most favoured popular music in Nigeria before the 1990s, it did not receive immediate global distribution and appreciation as localised hip hop did during the internet era from around 2004 to date. Increased internet access in Nigeria largely strengthened the access to global hip hop production and consumption. By focusing on the music of two Nigerian hip hop artists, 2face and Flavour, this discussion explores the production and transnational projection of transcultural hip hop identities amid global hip hop music flows. The paper contends that hip hop glocalisation promotes blending of hip hop practices of diverse locales, transcultural communication and global appreciation of Nigerian hip hop culture.

中文翻译：

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尼日利亚当代嘻哈音乐的全球本地化

摘要 本文讨论了数字通信技术时代尼日利亚嘻哈音乐制作的全球趋势。音乐全球本地化的概念解释了在全球化的力量下音乐制作、传播和消费的本地意识。继 1990 年代美国嘻哈在尼日利亚被采用之后，对嘻哈文化真实性的重新谈判导致了本地化嘻哈的产生，这些嘻哈具有先前流行音乐流派的特征，尤其是高生活音乐。尽管 highlife 是 1990 年代之前尼日利亚最受欢迎的流行音乐，但它并没有像 2004 年左右至今的互联网时代本地化的嘻哈音乐那样立即获得全球发行和欣赏。尼日利亚互联网接入的增加在很大程度上加强了对全球嘻哈制作和消费的访问。通过关注两位尼日利亚嘻哈艺术家 2face 和 Flavour 的音乐，本次讨论探讨了在全球嘻哈音乐流动中跨文化嘻哈身份的产生和跨国投射。该论文认为，嘻哈全球本地化促进了不同地区嘻哈实践的融合、跨文化交流和对尼日利亚嘻哈文化的全球欣赏。