Hip hop music on the African continent often constitutes a site for competing anxieties, just as its varied rhythms compellingly appeal to the sensibilities of its diverse audience. Evidently, hip hop’s global influence can be traced to its American origin, and its utilitarian aesthetics have been truly restructured, remodelled, repackaged, and even calibrated to reflect the dynamic social changes that continue to be witnessed in Africa. Underlining how hip hop evokes a global identity that draws from Africa realities, Barber (2018, 1) acknowledges that ‘[p]opular culture in Africa is a product of everyday life. It is the unofficial, the non-canonical’. Hip hop satisfies this categorisation, reflecting the vagaries and lived experiences of its producers and consumers. Even more fundamental to the amplification of these changes is its basis in the eclectic appropriation of history, urban myth, and cultural-politico thematic, a combination of which has given birth to its peculiarly African sub-genre. It might be fair to admit that its consuming interest among the youth of the continent derives from the unmistakably unique flavour imbedded in its energetic rendition. This is even more glaring in the sub-genre of Nigerian hip hop, which has enjoyed significant acclaim and patronage globally. In recent times, Nigerian hip hop’s production and diffusion have been aided by the availability of technological tools, to continually stimulate the interest of its listeners. Tellingly, given its growing youth demographic amidst unpredictable social changes, the subliminal lyrics of Nigerian hip hop continue to seek the propagation and assertion of peculiarly African realities and experiences (Onanuga 2017, 2019). Nigerian hip hop’s prodigiousness is referenced for its overarching, exuberant dance steps, avant-garde lyricism, transnational mellifluousness, as well as for being a platform to show a syncretism of eclectic styles, among other variables that point to its established, distinctive identity (Akingbe and Onanuga 2018). These engaging features and their contextual implications are represented in the seven articles captured in this volume. Contemporary Music Review, 2020 Vol. 39, No. 1, 1–5, https://doi.org/10.1080/07494467.2020.1753470

中文翻译：

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尼日利亚流行音乐：语言、语境和环境

非洲大陆上的嘻哈音乐常常构成相互竞争的焦虑场所，正如其多样的节奏对不同观众的感受力具有强烈的吸引力一样。显然，嘻哈的全球影响力可以追溯到它的美国起源，它的功利主义美学已经真正被重构、重塑、重新包装甚至校准，以反映在非洲继续见证的动态社会变化。Barber (2018, 1) 强调嘻哈如何唤起从非洲现实中汲取的全球认同感，他承认“非洲的流行文化是日常生活的产物。它是非官方的，非规范的”。嘻哈满足这一分类，反映了其生产者和消费者的变幻莫测和生活经历。更重要的是，这些变化的放大是其对历史、城市神话和文化政治主题的折衷挪用的基础，这些因素的结合催生了其独特的非洲子流派。可以公平地承认，它在非洲大陆年轻人中的消费兴趣源于其充满活力的演绎中蕴含的明显独特的风味。这在尼日利亚嘻哈的子流派中更为明显，该流派在全球享有盛誉和赞助。最近，尼日利亚嘻哈的制作和传播得到了技术工具的帮助，不断激发听众的兴趣。引人注目的是，鉴于其在不可预测的社会变化中不断增长的青年人口，尼日利亚嘻哈的潜意识歌词继续寻求传播和主张非洲特有的现实和经历（Onanuga 2017、2019）。尼日利亚嘻哈的非凡之处在于其总体、旺盛的舞步、前卫的抒情性、跨国的优美，以及作为展示折衷风格融合的平台，以及其他表明其既定的、独特的身份的变量（Akingbe和 Onanuga 2018）。这些引人入胜的特征及其上下文含义在本卷中的七篇文章中都有体现。当代音乐评论，2020 年卷。39, No. 1, 1-5, https://doi.org/10.1080/07494467.2020.1753470 旺盛的舞步、前卫的抒情、跨国的优美，以及作为展示折衷风格融合的平台，以及其他表明其既定的、独特的身份的变量（Akingbe 和 Onanuga 2018）。这些引人入胜的特征及其上下文含义在本卷中的七篇文章中都有体现。当代音乐评论，2020 年卷。39, No. 1, 1-5, https://doi.org/10.1080/07494467.2020.1753470 旺盛的舞步、前卫的抒情、跨国的优美，以及作为展示折衷风格融合的平台，以及其他表明其既定的、独特的身份的变量（Akingbe 和 Onanuga 2018）。这些引人入胜的特征及其上下文含义在本卷中的七篇文章中都有体现。当代音乐评论，2020 年卷。39, No. 1, 1-5, https://doi.org/10.1080/07494467.2020.1753470 当代音乐评论，2020 年卷。39, No. 1, 1-5, https://doi.org/10.1080/07494467.2020.1753470 当代音乐评论，2020 年卷。39, No. 1, 1-5, https://doi.org/10.1080/07494467.2020.1753470