Indigenous African Popular Music, Volume 2: Social Crusades and the Future (Pop Music, Culture and Identity)

This volume examines how African indigenous popular music is deployed in democracy, politics and for social crusades by African artists. Exploring the role of indigenous African popular music in environmental health communication and gender empowerment, it subsequently focuses on how the music portrays the African future, its use by African youths, and how it is affected by advanced broadcast technologies and the digital media. Indigenous African popular music has long been under-appreciated in communication scholarship. However, understanding the nature and philosophies of indigenous African popular music reveals an untapped diversity which can only be unraveled by the knowledge of myriad cultural backgrounds from which its genres originate. With a particular focus on scholarship from Nigeria, Zimbabwe and South Africa, this volume explores how, during the colonial period and post-independence dispensation, indigenous African music genres and their artists were mainstreamed in order to tackle emerging issues, to sensitise Africans about the affairs of their respective nations and to warn African leaders who have failed and are failing African citizenry about the plight of the people. At the same time, indigenous African popular music genres have served as a beacon to the teeming African youths to express their dreams, frustrations about their environments and to represent themselves. This volume explores how, through the advent of new media technologies, indigenous African popular musicians have been working relentlessly for indigenous production, becoming champions of good governance, marginalised population, and repositories of indigenous cultural traditions and cosmologies. Abiodun Salawu is Professor of Journalism, Communication and Media Studies, and Director of Indigenous Language Media in Africa, at the North-West University, South Africa. His major areas of research include indigenous language media, development communication, critical studies and new media. Israel A. Fadipe is postdoctoral fellow in Indigenous Language Media in Africa at the Faculty of Humanities, North-West University, South Africa. He specialises in communication, cultural and gender studies, and has published articles and chapters in both local and international journals Acknowledgements Contents Notes on Contributors List of Figures List of Tables Part I: Indigenous African Popular Music, Democracy, Politics and Social Crusade Chapter 1: Extra-Mundane Communication in Ayinla Omowura’s Music: Exploring Connections Between a Tool and an Agent The Nature of African Extra-Mundane Communication African Music: An Example of Ayinla Omowura Methodological and Theoretical Approach Forms of Extra-Mundane Communication in Ayinla Omowura’s Music (1) Incantations (2) Eulogies (a) Mufutau Tijani Baba Owo (b) Captain Sunday Eweje (c) Chief Lawal Omopupa Oluwo (3) Dirge (a) Am’odemaja (b) Joseph Osowunmi (c) Yusuf Olatunji (d) Morenike Asabi (4) Chants (5) Panegyrics (a) Bomodeo’ku Club (b) Ifelodun Lagos Levels of Extra-Mundane Communication in Ayinla Omowura’s Music Top-Down Extra-Mundane Communication Bottom-Up Extra-Mundane Communication Top-Down Level of Extra-Mundane Communication Incantation Dirge Bottom-Up Level of Extra-Mundane Communication Incantation Eulogy Dirge Conclusion References Chapter 2: The Role of Politicians in Democratizing Musical Production in Northern Nigeria Introduction Hausa Music in Northern Nigeria Methodology and Findings The Political Music in the Chapter Fati Niger Sakamakon Canji (The Benefit of Change) Jadda Garko Dankasa Yarage Naka (Up to You to Decide) Democratization of Music in Northern Nigeria: The Politicians’ Views on the Use of Hausa Music Why Musicians Why Hausa Music Impact of Hausa Music as a Campaign Tool in Northern Nigeria Democratization of Hausa Music: The Musician’s Benefit Conclusion References Chapter 3: Popular Music, Political Mobilisation and Grandstanding: An Analysis of Maskandi in Legitimisation of Jacob Zuma (2008–2018) Introduction Music Politics in Post-apartheid South Africa Defining Maskandi Music About Jacob Zuma Research Questions Discourse and Legitimation Critical Discourse Analysis Maskandi in Political Mobilisation and Grandstanding Maskandi as an Antidemocratic Force: Legitimation of Zuma’s Corruption and Rape Scandals Maskandi in Political Communication and Public Diplomacy Zulu Ethnic Nationalism and Hegemony in Maskandi Conclusion References Chapter 4: Popular Music and the Concept of the Dissident in Post-Independence Zimbabwe Introduction and Background Going Against the Grain: Music and Politics in Zimbabwe Theoretical Premise: Music as a Dissident Archetype and Music as a Journalism Variant Methodological Considerations Discussion and Findings Magandanga and the Fight Against Corruption The Politics of Marginalisation and the “Matabeleland Question” Socio-economic Inequalities and Protest Music in Zimbabwe Narratives on Political Oppression and Violence in Zimbabwe Conclusion References Chapter 5: Indigenous African Popular Music, Democracy and Politics Introduction Literature Review Theoretical Framework Two-Step Flow, Model of Communication Methodology Questionnaires Focus Group Discussions (FGD) How Focus Groups Were Organised Face-to-Face Interviews Sampling Method Ethical Considerations Results Administrative Machinery Death Unity Celebrations Discussion Conclusion References Chapter 6: Music and Political Protests in Africa: Analysis of Selected Fela Anikulapo-Kuti’s Songs in Nigeria Introduction Inter-relationship Among Music, Medium, Politics and Protest Statement of the Problem Review of Literature Fela Anikulapo-Kuti Theoretical Framework Discussion “Sorrow, Tears and Blood” (1977) “Authority Stealing” (1980) Conclusion References Chapter 7: Singing Democracy and Politics in Post-Independence Zimbabwe: A Critical Discourse Analysis of Self-censorship in Zimbabwean Indigenous Theological-Sungura Music Introduction Post-Independence Zimbabwean Socio-political Condition The Nature of Indigenous Theological-Sungura Music Research Corpora and Method Self-censorship in Indigenous Theological-Sungura Music Genre Use of Pronouns Village Metaphor and Other Figures of Speech Allusion to Spiritual Matters Use of Sympathetic Background Creation of a Utopian Sensation Rhetoric Questions Conclusion and Recommendations References Chapter 8: Indigenous African Artistes as Social Critics: A Study of Evangelist Bayo Adegboyega of Yoruba Extraction Introduction Concept of Yoruba Songs Sociology of Literature Methodology Yoruba Gospel Music and Bayo Adegboyega’s Art Analysis and Discussion Conclusion References Chapter 9: State-Minded Praise Music Culture Through Electoral Nigeria Introduction The Griot: From the Pre-colonial to the Postcolonial State-Minded Praise Music in Post-1999 Nigeria State-Minded Praise Music as a Site of Economic Resistance in Post-1999 Nigeria Conclusion References Discography Chapter 10: Beyond Mere Entertainment: Moral Reorientation in Ogundare Foyanmu’s Ijala Song-Texts Introduction/Problem Statement Theoretical Background/Literature Review Ijala Biography of Ogundare Foyanmu Indigenous African Music and Societies Research Design Moral Reorientation Messages in Ogundare Foyanmu’s Song-Texts Virtuous Life Truthfulness/Honesty Hygiene Family Unity/Peaceful Co-existence Gossip Jealousy Discussion of the Findings Conclusion and Recommendations References Discography Chapter 11: Nigerian Indigenous Music as an Instrument of Social Crusade and Enlightenment: An Appraisal of Selected Albums of Sikiru Ayinde Barrister, Dauda Epo Akara and Odolaye Aremu Introduction Agenda Setting Theory Social Responsibility Theory Brief History of Dr. Sikiru Ayinde Barrister, Dauda Epo Akara and Odolaye Aremu Dauda Epo Akara Odolaye Aremu Barrister’s Music and Social Crusade Social Commentary, Public Enlightenment and Epo Akara’s Music Odolaye Aremu’s Dadakuada, National Unity and Moral Decadence Conclusion References Part II: Indigenous African Popular Music and Environmental Health Communication Chapter 12: Yorùbá Indigenous Musical Jingles on COVID-19: A Content Appraisal Introduction Theoretical Framework Methods and Materials Results Conclusion References Chapter 13: Promotion of Food Sovereignty in Africa Through Yoruba’s Indigenous Music Introduction Theoretical Framework: Social Constructivism Indigenous Music and Food Production, Distribution, and Consumption Organic Food and Traditional Music Elegede (Squash-Gourd Melon Pumpkin, Common Name is Water Squash) (Cucurbita pepe L.) African Giant Snails (Achatinaachatina) Music and Inorganic Food Production, Distribution, and Consumption in Yoruba land Crises of Inorganic Food and Vitiation of Food Sovereignty in Africa Conclusion References Chapter 14: Mainstreaming Afro-hip-hop Music in Redressing the Spread of Infodemics on COVID-19 Introduction Infodemics and the COVID-19 Pandemic Major Themes of Infodemics Consequences of Infodemics Framing Theory Music, Afro-hip-hop and COVID-19 Historizing Hip-Hop Music Popular Sub-genre of Hip-Hop History of Hip-Hop in Nigeria Afro-Hip-Hop and the Curtailment of Infodemics of COVID-19 Advantages of the Use of Afro-hip-hop in the Campaign Against COVID-19 Conclusion References Part III: Indigenous African Popular Music and Gender Empowerment Chapter 15: Why Not Call a Spade a Spade? Unpacking Paul Matavire’s Gender Philosophy Introduction Indigenous Music and Performance in Zimbabwe Paul Matavire: A Brief Sonic Biography Paul Matavire’s Gender Philosophy Analysis of Selected Songs Tanga Wandida (Love Me First) Taurai Zvenyu (Say It) Ndagumbuka (I Have Been Angered) Akanaka Akarara (A Person Is Only Good When Asleep) Iye Mbune (Him) Engaging Matavire as a Voice for Vulnerable Women Conclusion References Chapter 16: The Communicativeness of Select Nigerian Afro-hip-hop Lyrics and Sociological Perception of Women Introduction The Power of Music Music Defined Music and Society The Origin of Hip-Hop Music The Origin of Afro-hip-hop Music Afro-hip-hop and the Female Gender Sales Ideology of Afro-hip-hop Music Marketers and Promoters Afro-hip-hop Music Lyrics Relationship Between Afro-hip-hop Culture and Social Behaviour Afro-hip-hop Artistes and Moral Justification of Social Crusade Against Sexual Violence Theoretical Framework Conclusion Recommendations References Chapter 17: Content and Reception of Eswatini’s Indigenous and Popular Music on Women Empowerment Introduction Gender-Based Violence in Eswatini Methodology Women Empowerment in siSwati Indigenous Songs Women Empowerment in Eswatini’s Popular Music Conclusion References Part IV: Indigenous African Popular Music, African Youths and African Future Chapter 18: Ngoma Songs as Tanzanian Youths’ Third Space for Political Participation Introduction Do Young People Have Interest in Politics? Why Ngoma Songs? The Knowledge Gap Theorizing a Third Space The Methodological Issues Data Analysis and Presentation Songs as an Avenue for Communicating Youth’s Own Challenges Nexus between Songs and Promotion of Sound Policies Concluding Remarks References Chapter 19: The Future of the Indigenous African Popular Music Introduction Background of African music and indigenous popular music Development of Zimbabwe Indigenous Popular Music Influence of Music Technology and Computerized Music, and Internet on Zimbabwe Indigenous Popular Music Challenges and Opportunities in the Production of the Zimbabwe Indigenous Popular Music Recommendations References Internet Sources Chapter 20: The Popular Cultural Practice of Hip-Hop Among The Indigenous !Xun and Khwe Youth of Platfontein, South Africa Introduction Complex Positioning of the !Xun and Khwe Indigeneity Making Sense of Platfontein Hip-hop Conclusion References Chapter 21: Zimdancehall Music as Rules of Sexual Engagement Introduction Popular Music, Masculinity and Gender Inequality Theoretical Framework Methodology Analysis: ‘Bedroom Match’ and the Construction of Sexual Encounters as Competitive and Violent The Bedroom Bully Identity Big Penis Size Destroying the Vagina Staying Power Conclusion References Discography Part V: Indigenous African Popular Music, Advanced Broadcast Technologies and the Digital Media Chapter 22: Tradi-Modern Musical Genres Amidst Neo-Colonial Western Digital Recording Towards Development in Benue State Introduction Definition and Appraisal of Music Tradi-Modern Musical Genre Digital Media and Digitisation of Music Tradi-Modern Music and Development Tradi-Modern Music, Media and Dance Secondary Review: Benue Tradi-Modern Music Primary Review: Benue Tradi-Modern Music Conclusion and Recommendations References Chapter 23: The Evolution of the Roles of Producers in the Zimbabwe Recording Industry Introduction The Concept of Music Producer The Genesis of Music Production in Zimbabwe The Music Producer in the Analogue Era The Producer in the Digital Era Trends in Zimbabwe’s Recording Industry The Implication of the Changing Roles of Producers Conclusion References Chapter 24: Topic: Indigenous African Music Economics: Survival Strategies in the Face of Web Technologies Introduction Aims and Objectives Research Questions Statement of the Problems Research Methodology Literature Review New Sources of Revenue Theoretical Framework Technological Determinism Theory Relation of Technological Determinism Theory to the Study Diffusion of Innovation Theory Relevance of the Theory to the Study Empirical Review Data Presentation: Discussion of Findings Conclusion Recommendations References Chapter 25: Commodification of Music in the Digital Age: Locating Namibia’s Oviritje Popular Music Genre in the Capitalist Music Economy Introduction Characteristics of Neoliberalism: A Brief Overview Culture and Popular Music Commodification and Music Commodities in the Digital ‘New’ Forms of Labour and ‘Commodities’ in the Digital Age Development of Oviritje Genre Oviritje Songs Commodification of Oviritje in Digital Capitalism Oviritje in the Capitalist Economy Conclusion References Chapter 26: The Role of Sound Archiving of Indigenous Popular Music in the Conflict Zones of North-Eastern Nigeria Introduction Background to Conflict Regions in North-Eastern Nigeria The State of Endangered Indigenous Music Performances The Effect of Conflict on Music Performances in North-Eastern Nigeria The Crisis of Migration and Loss of Musical Authenticity The Role of Sound Archiving in Preserving Popular Music in North-Eastern Nigeria Recommendations and Conclusion References Index [Volume 1] explores the nature, philosophies and genres of indigenous African popular music, focusing on how indigenous African popular music artistes are seen as prophets and philosophers, and how indigenous African popular music depicts the world. Indigenous African popular music has long been under-appreciated in communication scholarship. However, understanding the nature and philosophies of indigenous African popular music reveals an untapped diversity which can only be unraveled by knowledge of the myriad cultural backgrounds from which its genres originate. Indigenous African popular musicians have become repositories of indigenous cultural traditions and cosmologies. With a particular focus on scholarship from Nigeria, Zimbabwe and South Africa, this volume explores the work of these pioneering artists and their proteges who are resiliently sustaining, recreating and popularising indigenous popular music in their respective African communities, and at the same time propagating the communal views about African philosophies and the temporal and spiritual worlds in which they exist.-- Volume 1, cover page 4