The social morality of Afrobeats in Nigeria often evokes reactive emotions of approbation and obloquy. While some critics contend that hip hop has deleterious effects on youths, because it encourages permissiveness, others are of the opinion that the music genre performs certain invaluable functions, and should not be besmirched. The binary variables trailing hip hop have even been recast by religious mawkishness, as many adherents of Abrahamism dissociate themselves from Afrobeats claiming that it promotes vulgarity, and is not fit for the consumption of unfeigned believers. This bias underpins the emergence of a parallel religio-centric music genre which has Christian and Islamic eschatology as its central theme, though the music sometimes copies Afrobeats style. In this study, the antipathy of religious persons/institutions in Nigeria to hip hop is examined. Using sociological-functional theory, moral relativist paradigm, and (traditional/virtual) exploratory-qualitative research instruments; we argue that the music is functional and socially relevant, contrary to the stereotypical view of anti-hip hop proponents. The study critiques some Nigerian Afrobeats songs to confound the conventionalisation of the music genre as a site of libertinism or a locus for the thingification of femaleness. It advocates aggressive promotion of the music locally and abroad, since it bears Nigerian signature and serves as the country’s creative contribution to global hip-hop culture. We submit that the art form can be pruned of its smuttiness to augment its acceptability, just as it can be developed to an industry capable of generating foreign exchange for Nigeria.

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尼日利亚 Afrobeats 和宗教刻板印象：将音乐流派的界限推到放荡主义的范围之外

尼日利亚 Afrobeats 的社会道德常常唤起认可和诽谤的反应性情绪。虽然一些评论家认为嘻哈对年轻人有有害影响，因为它鼓励放纵，但其他人认为音乐流派发挥了某些无价的功能，不应该被玷污。落后于嘻哈的二元变量甚至被宗教狂热重新塑造，因为许多亚伯拉罕主义的追随者与 Afrobeats 分离，声称它宣扬粗俗，不适合不假装的信徒消费。这种偏见支持了以基督教和伊斯兰末世论为中心主题的平行的以宗教为中心的音乐流派的出现，尽管音乐有时会复制 Afrobeats 风格。在这项研究中，检查了尼日利亚宗教人士/机构对嘻哈的反感。使用社会学功能理论、道德相对主义范式和（传统/虚拟）探索性研究工具；我们认为音乐具有功能性和社会相关性，这与反嘻哈支持者的刻板印象相反。该研究批评了一些尼日利亚 Afrobeats 歌曲，以混淆音乐流派的常规化作为放荡的场所或女性事物化的场所。它提倡在国内外积极推广音乐，因为它带有尼日利亚的签名，是该国对全球嘻哈文化的创造性贡献。我们认为可以修剪艺术形式的肮脏以增加其可接受性，