Shola Olushola: CODE-SWITCHING AND CODE MIXING IN CONTEMPORARY NIGERIAN HIP-HOP MUSIC

Introduction

Code-switching, a socio-linguistic term is a product of bi/multilingualism. This is because when languages are in contact they are bound to influence one another. Notable among the products of bi-/multilingual contact are borrowing, code-switching, interference and transfer. Code-switching can be described as a means of communication which involves a speaker alternating between one language and the other in communicating events. In other words, it describes someone who code-switches using two languages (interlingua) or dialects (intralingua) interchangeably in a single communication. On the other hand, code-mixing refers to embedding of various linguistic units such as affixes (bound morphemes) words (unbound morphemes, phrases and clauses that participants use in order to infer what is intended, which must reconcile what they hear with what they understand. Other terminologies commonly used in code-switching are ‘intra-sentential’, which describes switches within the sentence, and ‘inter-sentential’ used to describe switches between sentences. The occurrence of code-mixing is common in multilingual setting such as Nigeria, after all, it is convenient as a communicative strategy for social interaction. An average Nigerian is either bilingual or multilingual, and in few instances a monolingual.

However, code-switching in music is a deliberate style used an artist who would have prepared and reflected upon the lyrics before the release of the songs. Artists are conscious of the possibility that their words may be received by people outside their immediate context of language use. Even though hip-hop music is a genre or brand of music, developed in the 1970s, when Black parties became common in New York City, particularly the Bronx, a community well known for its large African-American population, hip hop music in Nigeria is a very popular brand of music which is heard practically in all parts of Nigeria and is both respected and appreciated by Nigerians, young and old.

Background Information on the Selected Artistes and Data

o 9ice

9ice, whose real name is Alexander Abolore Adegbola Alapomeji Ajifolajifaola was born on the 17th of April, 1980. He is from Ogbomosho, Oyo state but grew up in Bariga, Lagos. 9ice has been active in the music industry since the year 2000 up till date. He is a singer and a song writer as well as the founder of Alapomeji Records. One thing that make all his songs unique is his creative use of Yoruba proverbs and adages in his songs. He has won different awards amongst which he won the Revelation of the Year award as well as the best male Vocal Performer. A month later at the first Sound City Music Video Awards, 9ice was nominated in the category of best new artist. 9ice has also won other awards such as; Nigerian Entertainment Awards Most Indegenous Act 2007 and Nigerian Music Awards Best Act 2008.

o Olamide

Olamide Adedeji (born 15 March 1989), known by his stage name Olamide but popularly called Olamide Baddo, is a Nigerian hip hop recording artist from Bariga, Lagos State. He records mostly in Yoruba, his native tongue. In 2011, he released his debut studio album Rapsodi while signed to Coded Tunes. YBNL, his follow-up album, was released under his label imprint YBNL Nation. The album was supported by the singles "First of All", "Voice of the Street", "Stupid Love", and "Ilefo Illuminati". On 7 November 2013, he released his third studio album Baddest Guy Ever Liveth. The album's singles include "Durosoke" and "Yemi My Lover". On 17 July 2013, Olamide became the first Nigerian to sign an endorsement deal with Cîroc. Olamide has been nominated and won several music awards, including multiple Nigeria Entertainment Awards and The Headies Awards.

Songs

These selected artists are some of the most respected Nigerian hip hop artists. They are popular artists and each chosen song from the various artists is recognized by almost all Nigerians. From their songs selected; Wedding Day, Anytime, Melo Melo and Lagos Boys, it is noticeable that the songs have Yoruba as part of the languages used in its composition. Although Yoruba is just one of the three major languages in Nigeria, it is the most used by the Nigerian hip hop artists amongst them all. When we listen to Nigerian hip hop songs, we will discover that a lot of the artists use Yoruba as part of their language(s) of composition. Not all these artists are Yoruba by origin; most of them acquired the language while growing up. This is because most of these artists reside in the western part of Nigeria. This is where most of them start their career as hip hop artists and as well as pursue it. You either find these artists in Lagos or in Ibadan with the majority of them in Lagos. Lagos is a Yoruba speaking state and in order to develop a closer relationship and better communication with the people around, the non-Yoruba speakers in this part of Nigeria tend to learn the language in addition to their mother tongue. Despite the fact that hip hop fans in Nigeria are not just the Yoruba speakers alone, the use of Yoruba by the Nigerian hip hop artists seem to be widely embraced all over the country.

Majority of Nigerian artists also adopt Nigerian Pidgin English (NPE), which is an English based language spoken all over the country. Beyond the important role it plays as an inter-ethnic lingua franca, it is also used by the Nigerian youth of the same tribe for communication. NPE is much more common among Nigerians in the coastal regions. In fact, we can say that NPE is gradually becoming a creole in some parts of Nigeria such as Delta State and Rivers State. As Pidgin is widely accepted and spoken in Nigeria, most Nigerian hip hop artists do not just see it as a form of communication among peers but also as a way for them to reach out to the whole of Nigeria and outside Nigeria with their songs.

Song 1

‘Wedding Day’ by 9ice

Bridge

On my wedding day

Aii, aii

On my wedding

Verse 1

She can’t stop calling

Her phone ringtone in my memory

Cos the first time we met

She has been like this

That’s why I treat her like a queen

She called me again

Like I don’t realise

We can’t but raise a family

I can’t deny

That I love her die

She be the woman of my life, woman of my life

Bros, no be lie

I feel alright whenever she’s by my side

I’m proud to be her Mr. Right

Cos I know she’s gonna be my bride

I lay low so I can watch her take the lead

You know

Chorus

On my wedding day

Ma gbé su léná

Ma fònà ro kà

Gbogbo àwọn e still dey dey

This time around, omo sè gòbe

Na you I go marry… aya wa ni

To God be the glory… Ìyàwó wa ni

Na you I go marry… aya wa, aya wa

To God be the glory.

Verse 2

Ah I know, she’s the right woman for me

I believe she’ll be there when I’m in need

It is necessary to help her achieve her dream

She’s my angel

Let me be the fool

As a princess

She’s ready to be my boo

Love wan tin tin

Everything skele wo go skele, na bintin

Love wan tintin

That thing called love

Omo no be film trick

E dey do me anywhere wey: dey like

Make she dey there … together

We are meant to be …. Forever

Èkùró la lábákú ẹ̀wà

Chorus

On our wedding day

Ma gbé su léná

Ma fò nà rokà

Gbogbo àwọn e still dey dey

This time around, ọmọ se gobe

Na you I go marry… aya wa ni

Verse 3

To God be the glory … ìyàwó wa ni

Na you I go marry … aya wa, aya wa

To God be the glory

To iíjò ìfé bà ti rò

Le e lórí

Kélébé kélébé ló ma ma se bí tanwíjín

Ìfẹ́ a gbọ́kàn rẹ so

Bí ẹni tó so wín

Kò sí oun tí òbí rẹ máa sọ́

Tó má wọ́ ẹ́ léti

You can ask Fadékẹ́mi at which level bó se rí

Àkànkẹ́ mí nkọ́

She can’t stop calling me wákàtí wákàtí

Ló ma fí n pè mí

E má ba mi dú ò

Ọmọ mì ni ọmọ yẹn

On our wedding day

Ma gbé su léná

Ma fọ̀ nà ro kà

Gbogbo àwọn e still dey dey

This time around, ọmọ sè gobe

Na you I go marry … aya wa, aya wa

To God be the glory

Chorus

On our wedding day

Ma gbé su léná

Ma fọ̀ nà ro kà

Gbogbo àwọn e still dey dey

This time around, ọmọ sè gobe

Na you I go marry … aya wa, aya wa

To God be the glory … ìyàwó wa ni

Na you I go marry … aya wa, aya wa

In this song 9ice tries to tell us about how strong his love for the “woman of his life” is. He talks about how it feels to have her in his life and what he would do on their wedding day. The use of code mixing and code switching started in the chorus with the line “She be the woman of my life, woman of my life… Bros, no be lie” which translate to “She is the woman of my life, friend this is not a lie”. This is a classic mix of English language and Nigerian Pidgin English to express his unfettered commitment to the woman of his life. He also expresses in another line “Me and my chikala na wantintin… Everything skele we go gbele: na bintin” which means “My darling and I are in love, every other thing that comes our way is trivial”. These lines encompasses three different languages; English, Pidgin (chikala) and Yoruba. This is an excellent work by the artist in perpetuating code switch and code mixing. In another line, he says “gbogbo awon e still dey dey…this time around, omo se gobe”. Here 9ice mixes and conveniently switches between Yoruba, Hausa and English languages to communicate his idea that this time around, as a result of the wedding, it is good-bye to external parties. The code switching here is the use of three (3) separate languages in just two lines of a song wherein he started with Yoruba and ended with Hausa language.

More so, 9ice’s knowledge of code-mixing and using bilingual codes features in verse 2 when he notes “omo no be film trick”. This statement ordinarily is an amalgam of two different languages; Pidgin and English Language, and translates to friend, it is real.

He further sings in verse 3 that “to God be the glory…iyawo wa ni… Na you I go marry… aya wa, aya wa” and towards the end, “You can ask Fadekemi at which level bo seri”. Code mixing and code switching is once again adopted here when he mixed English language (to God be the glory), Yoruba language (iyawo wa ni) Pidgin English (na you I go marry) and again Yoruba language (aya wa, aya wa) which literally translates to “To God be the glory… she is our wife… It is you I will marry… Our wife, our wife”. He further mixes English, Pidgin and Yoruba languages in just one line to display his proficiency in code mixing and code switching. This statement means “You can ask Fadekemi how it all went down at the appropriate time”.

In another line as indicated above, he hints “She can’t stop calling me, wakati wakati”. This is a metaphorical switch between English and Yoruba languages to mean “She can’t stop calling me at every hour of the day”.

Song 2

‘Anytime’ by 9ice

Ìrírí Ìrírí ni

Ìgbésí aiye mi

Ni ìpinlẹ̀ ẹ̀sẹ̀ mi

This life can be funny

Look around you and tell me what you see

Ìyà kiò she omi obè

Bàbá máje kín jẹ ìyà

Obè pàdé mi ni ìgunpa ni ama fìn jẹ̀’ba

Pẹ̀lú ẹja sháwá

I dey think about those days

At the same time, I dey think about how mama go

Bitter all day

She use to complain a lot but then,

Ọmọ boi no get much

I had to move her away

But, àwọn tilé kín

9ice ti sá ní ílé

Barriga born … kò mà lèyì padà

Ojú àpá kó lè jọ́ ojú ara

Anytime I think about those days,

That when I believe that,

We really set the place

Anytime I remember how the street dictates,

Some of us can even scale through the boundage.

It was a very big mess

As our lives was played like chess

I lost my very dear friend

“Saheed Ishola” òrun re re

Anytime the rain is falling

Me and my mummy

Ní’sè la má gbón omi

We don’t sleep when you guys are snoring

No time

Ení bá lo’mo

Ogun le bínú konú, we no mind

We no sign

We no crime, no crime

We put through all this hard times,

We no crime, no crime

Abule stone, taught me the basks

CMS grammar school, add to my credit

Everytime ni mo lo sí ilé kéú

Weekends ni màǹ kiri ata lọ sí ọdọ̀ bèhù

Mummy àgbà, you might he little afar

Just wanna let you know I love you die

Láti píníshín ni moti já fáfá

E’rè pà lò máń mú mi jarunpà

Mo ma n ‘run tìn bà tì nì kàtá

If I can’t afford medicine,

Máya lo epo pupa

These are my beginnings

Ire ni

Ìgbésí aiyé mí

Ni ìpinlẹ̀ ẹ̀sẹ̀ mi

Ohun ojú mí rí

My beginning

Repeat

Now, motigbọ́n, mo tójú bọ́

Mo ja gbọ́n,

Mo ní ọmọ tí mo ń tọ́,

Aiyé yí oòle, no condition stays for long

Ní aiyé ijọ́si, olówó ni ḱlá

Ní ìgbà èdè yíi,

Tattoo di ohun àrà

Ohun tó jẹ́ tiwa ḱmá ma lá fi iwé

Ààbà tún ra mú,

Ó se ohun àrà ire

Aiyé yí oòle

Ọmo ẹ̀dá ádámọ̀ lósọọ ilé aiyé di ogun

Wọ́n sọ aiyé di àwáìlọ

Bí àdìgún se ń gun òkè ni wọ́n gbé ogun

But mo ti jé kí òye wọ́n ní wípé

Àyà fi ọlọ́run

Kọ̀wa tón bí yègè dè yín

I am close to grammy

Those that stands behind me

The journey is so fac, kí má íse kèrémí

Òjò tí apagún bò

Ohun ojú tí rí

Ẹnu ko le róyìn.

The above is another piece from 9ice which describes his sudden transformation from penury to opulence detailing what he went through from childhood to adulthood which he adjudged as indescribable. In this song, as with the previous song, 9ice conveniently adopts code mixing and code switching to appeal to the listener. For a start, he notes “At the same time, i dey think about how mama go bitter all day”, a clear mixture of English and Pidgin languages which means “At the same time, I keep thinking about how my Mother feels bitter all day”. Here, he is reminiscing over how his mother used to feel sad in those days due to his poor situation. At another point he says “I lost my very dear friend "Saheed Ishola" orun re re” meaning “I lost my very dear friend Saheed Ishola, rest in peace”. Here, he switches between English and Yoruba to remember and wish his friend a peaceful eternal sleep. 9ice in another line says “Me and my mummy, ni' se la mama gbon omi”. This is switch between English and Yoruba language again, meaning “Me and my mummy, we were accustomed to draining water” to describe their level of poverty which denied them sleep after rainfall when others were snoring.

“Ogun le inu okonu, we no mind” is another example of code mixing and code switching in the song used expressly in the form of a Yoruba proverb and Pidgin to say “It is a tough world where everybody minds his business, we do not mind” and means that in the face of this abject poverty, they were left all to themselves. 9ice also notes “We put through all this hard times, we no crime, no crime”. This is conveniently use of English and Pidgin in the same line to say “We put through all this hard times without engaging in crime” and express his level of perseverance in spite of the continued poverty.

9ice in another line also hints “Weekends ni ma'n kiri ata lo si odo behu, Mummy agba, you might be little afar”. This translates to “I hawk pepper to Behu’s place during weekends. Grandmother, you can readily attest to this”. The use of English and Yoruba here is not only commendable but also outstanding. He further hints “If i can’t afford medicine, maya lo epo pupa” by switching between English and Yoruba languages to say “If i can’t afford medicine, I will rather use palm oil” to further describe how poor they were.

9ice also says “Ohun oju mi ri, my beginning” meaning “I have seen a lot, my beginning”. The use of two separate languages in a line to say he has seen a lot. He also says “Aiye yi oole, no condition stays for long” meaning “This world is not so difficult, after all, no condition is permanent”. Once again, this is another switch between two distinct languages. In another line, he once again code mix and code switch his message that “Kowwa ton bi yege de yin, i am close to Grammy” meaning “To your disappointment, I am close to Grammy”, that is, despite their scorns, he is finally close to winning the prestigious Grammy Awards; an indication that hard work pays.

Towards the end of the song, he once more engages his well accustomed use of code mixing and code switching that “The journey is so far, ki ma ise kere mi” meaning “The journey is so far, it has not been easy”.

Song 3

‘Mélò Mélò’ by Olamide

Chorus

I no dey denge denge

I no dey pose eh

My baby give me biscuit I want sugar

The things you do me,

Bí’òjò bá rọ̀ kò se wí

Bí orun báràn, bí óruǹ bá ràn kò seéso

Mélò mélò, mélò mélò la fẹ́ wí

Mélò mélò, mélò mélò la fẹ́ sọ

Àní mélò mélò, mélò la fẹ́ wí

Mélò mélò, mélò mélò la fẹ́ sọ

Verse 1

Eyín fún jowó, ẹyín mẹ́nugún

Apọ́n bépo rẹ́ mí, àkọǹkẹ́ igi lẹ́yiǹ ọgbà mi

Nígba kòsówó, ní gba kò siọ́la, nígba kò sóró

Tí ayé ròmípin you stood by me

I know I make some mistakes but I don dey regret

Now I no go forget to cherish wetin I get

The first day we met; told you how I felt

Walahi I dey melt, my baby you’re the best

Chorus

I no dey denge denge I no dey pose eh

My baby give me biscuit I want sugar

The things you do me, bí’òjò bá rọ̀ kò se wí

Bí orun báràn, bí óruǹ bá ràn kò sé sọ

Mélò mélò, mélò mélò la fẹ́ wí

Mélò mélò, mélò mélò la fẹ́ sọ

Àní mélò mélò, mélò mélò la fẹ́ wí

Mélò mélò, mélò mélò la fẹ́ sọ

Verse 2

For better for worse, for rich and for poor

Kò sí elòmirán àfì iwo nìkan

Ìgbà tí’ mòún hustle, tí mòún squat lábúlé

Tí mò dàrìnká jábàtà, tí mòún fiẹ s̀ sha lábúlé

Shèbí ìwọ lorímí and you showed me love regardless

Them other ladies them no dey send me at first

I know you make some mistakes now you don dey regret

Now you no go forget to cherish wetin you get

Mélò mélò, mélò mélò la fẹ́ sọ

Chorus

I no dey denge denge I no dey pose eh

My baby give me biscuit I want sugar

The things you do me, bí’òjò bá rọ̀ kò se wí

Bí orun báràn, bí óruǹ bá ràn kò sé sọ

Mélò mélò, mélò mélò la fẹ́ wí

Mélò mélò, mélò mélò la fẹ́ sọ

Àní mélò mélò, mélò mélò la fẹ́ wí

Mélò mélò, mélò mélò la fẹ́ sọ

Verse 3

Isú parade ódi iyán, àgbàdo parade ódi ẹ̀kọ

Bàndọ parade ódi olówó, my baby parade ódi bess

Ìwọ nìkan-ìwọ ìwọ nìkan shosho

àfi ìwọ nìkan shosho shosho, àfi ìwọ nìkan shosho

Chorus

I no dey denge denge I no dey pose eh

My baby give me biscuit I want sugar

The things you do me, bí’òjò bá rọ̀ kò se wí

Bí orun báràn, bí óruǹ bá ràn kò sé sọ

Mélò mélò, mélò mélò la fẹ́ wí

Mélò mélò, mélò mélò la fẹ́ sọ

Àní mélò mélò, mélò mélò la fẹ́ wí

Mélò mélò, mélò mélò la fẹ́ sọ

In this song Olamide is making reference to his girlfriend who has stayed loyal to him and by his side through thick and thin even when other ladies deserted him for not having enough. He therefore wishes to express his profound gratitude to this dedicated, dependable and reliable girlfriend of his. Basically, the first line of the song in written using Nigerian Pidgin while the whole of verse one is a mixture of Nigerian pidgin, English and Yoruba languages showing diversity and language dexterity on the part of the writer; a good knowledge of code mixing and code switching. In line 3 of the song which started with English language and suddenly switches to Yoruba language “The things you do me, bi’ojo ba ro kose wi” to convey the main message that her loyalty is unquantifiable and translate to “The things you do for me, come rain, it is unspeakable”.

Olamide, in another line as indicated above, sings “I know I make some mistakes but I don dey regret” meaning “I know I made some mistakes but now I regret” which is a code-switch between two languages; English and Pidgin languages. Olamide in expressing his proficiency in code mixing and code switching further sings “Walahi I dey melt, my baby you’re the best” which literally translates to “I swear, I am melting, my baby you are the best”. This is a convenient switch and mixture of three languages of Hausa, Pidgin and English, in just nine (9) words and one (1) musical line.

In verse two, Olamide says “Ko si elomiran afi iwo nikan, Igba ti’moun hustle, ti moun squat takunle” meaning “There is no one else except for you, when I was hustling and squatting with Takunle”. Here, he mixes both English and Yoruba languages in an almost non-existent way to describe his lady’s commitment to him. Olamide also adopts code mixing and code switching to aver that “Shebi iwo lorimi and you showed me love regardless…Them other ladies them no dey send me at first… I know you make some mistakes now you don dey regret”. This ordinarily is the back and forth use of Yoruba, English Pidgin languages and it means “You found me and showed me love regardless… The other ladies didn’t have time for me… I know you made some mistakes but now you are regretting”.

Song 4

‘Lagos Boys’ by Olamide

Ladies sneh and gentlemen sneh

I’m your host for today sneh

They call me baddo sneh

Eyan n’la sneh, eyan n’la n’na la la la sneh

Ọlọ́run sneh, ota sneh

Òtà tà tà tà tà sneh ta bi atarodo sneh

Okey sneh, lets go sneh.

They call me alágbe oh, e má lé mi jáde oh

I just want to party oh, ẹgbé dolla jáde oh

Baby kíló washey oh, eré lawá wá shey oh

And you knew we Lagos boys, amọlà t’ówó kọ

Skeske robo ske, robo skeske robo

Èmi sneh, baddo sneh, m’n hot lọ́wọ́ lọ́wọ́ sneh

Wọ́n ní money mí pọ̀ gan sneh

Mo ní connection gan low sneh

We killing all the show lo sneh

Ladies sha ma jo lọ sneh

And after I kill this show lo sneh

The next day mo ti fó lo sneh

Baby sneh, why you dey dulling sneh

Back it up, no worries sneh

Nobody ma sofún mommy sneh

Ma sọfún daddy sneh, ọmọ yi gbòndí sneh

Shout out sáwọn tèmi sneh

Agége sneh de Mushin sneh

Smellos kemalo de bi sneh

Àwa o ráyè òshì sneh

They call me alágbe oh, ẹmá lé mi jáde oh

I just want to party oh, egbé dollar jáde oh

Baby kilo washey oh, eré làwá wá shey oh

And you know we Lagos boys, aimọlà t’ówó kọ

Skeske robo ske, robo skeske robo

Óyá, alayé kílón shelè sneh

Wọ́n nípé moti yẹgbeh sneh

Ẹbá mi kí wọ́n pẹ̀lẹ́ sneh

Tó bá n bínú kò jégbè sneh

Óyá mégbe wó, omo dégbé neh

Werey wán’le bí yèpè sneh

Mummy emálo tijú sneh

Do what you really wan do sneh

Baby sneh, why you dey dulling sneh

Naija iyries zone.com

Back it up, no worries sneh

Nobody má sọfún mommy sneh

Ma sọfún daddy sneh, omo yí gbọndi sneh

Shout out sáwọn tèmi sneh

Bàrígà sneh dé lérè sneh

Smellos kemálo dé bí sneh

Bé bá ti férí werey sneh

They call me alágbe oh, ẹmá lé mi jáde oh

I just want to party oh, egbé dollar jáde oh

Baby kilo washey oh, eré làwá wá shey oh

And you know we Lagos boys, aimọlà t’ówó kọ

Skeske robo ske, robo skeske robo

Jo oh, I júba for my Governor, governor Ambode

I fall for my daddy, bàbá saato

I fall for my kábíèsí, ọba ẹlẹ́gùshí … olóhun

I fall for you pieces, olóhun after you na you o

(Talks to beat almost fade)

Skeske robo ske, robo skeske robo

The song above is a greeting to “Lagos Big-boys” and how hard they party, not minding how money spent, in as much as they will derive maximum fun. Olamide, well known for his excessive use of code mixing and code switching of majorly three languages; English, Yoruba and Pidgin, to convey his message in songs to his fans and other listeners, also adopted the technique in the above song which he started in lines 8 and 9 where he says “They call me alagbe oh, ema le mi jade oh

I just want to party oh, egbe dollar jade oh” translated as “They call me a beggar, do not send me away, I just want to party, bring out the dollar”. The stylistic use of English and Yoruba shows the party-mentality of the artiste with respect to this song.

He went further to say “Won ni money mi po gan sneh, mo ni connection gan” meaning “I have been adjudged of being rich and having a lot of connections”. The use of Yoruba followed by English language here explains what people think of the artiste in terms wealth and connection as a Lagos ‘big-boy’. Olamide once again uses code mixing and code switching when he notes that “And after i kill this show, the next day mo ti fo lo sneh” which translates to “And after I perform in this show, the next day I will be out of here”. The artiste also mixes and switches between Yoruba and English languages when he says “Nobody ma sofun mommy”, that is “Nobody will tell Mommy”, referring to the ladies at the party to party hard and not worry about anyone reporting to their mother.

He also alternated between English and Yoruba languages when he sings “Shout out sawon temi” translated as “Shout out to my people” and “Do what you really wan do” meaning “Do what you really want to do” which is a switch between English and Pidgin languages. In his retort to revere some bigwigs, he also adopted code mixing and code switching which he feels will appeal more to them i.e. “I fall for my daddy, baba santo… I fall for my kabiesi, oba elegushi… olohun… I fall for you pieces, olohun after you na you o” which translates to “I greet Daddy Santo, King Elegushi…God… I greet you specially, God, you are irreplaceable”. This is a well calculated attempt to use a mixture of English and localized languages to appeal to the interests of revered.

Thank you for reading…

NB: This piece is an intellectual property of the writer, do feel free to disseminate as appropriate; nonetheless with due acknowledgement.

AKINYETUN, Tope Shola [Comparative Politics & Development Studies]

References

Babalola, E.T. and Taiwo, R. (2009). Code-Switching In Contemporary Nigerian Hip-Hop Music. (Not Available) pp1-27

Kuponiyi, A.O. (2013). Code-Switching in Contemporary Nigerian Hip-Hop Songs. M.A. Thesis Submitted to University of Ghana, Legon.

Liadi, O.F. and Omobowale, A.O. (2011). Music multilingualism and hip hop consumption among youths in Nigeria. International Journal of Sociology and Anthropology, 3(12):469-477.

Shola Olushola

Thursday 25 January 2018

CODE-SWITCHING AND CODE MIXING IN CONTEMPORARY NIGERIAN HIP-HOP MUSIC

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