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Politics, Identity, and Nostalgia in Nigerian Music: A Study of Victor Olaiya’s Highlife
Omojola focuses on the music of Victor Olaiya, one of Nigeria's pioneers of highlife music. Highlife music, which originated in Ghana within the first few decades of the twentieth century, had by the late 1950s become a popular regional genre in a number of West African countries, including Nig...
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Published in: | Ethnomusicology 2009-04, Vol.53 (2), p.249-276 |
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Main Author: | |
Format: | Article |
Language: | English |
Subjects: | |
Citations: | Items that cite this one |
Online Access: | Get full text |
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Summary: | Omojola focuses on the music of Victor Olaiya, one of Nigeria's pioneers of highlife music. Highlife music, which originated in Ghana within the first few decades of the twentieth century, had by the late 1950s become a popular regional genre in a number of West African countries, including Nigeria, Sierra-Leone, and Liberia. He also explores the analytical significance of nostalgia. In situating Olaiya's music within the dynamics of colonial and postcolonial environment in Nigeria, Omojola explains that the musical projection of Olaiya's Yoruba identity often reflects a nostalgic recall of his ancestral and cultural roots, while engaging the topical demands of social and political life in Nigeria. Furthermore, he also explains that Olaiya's strategic recall of Yoruba traditional elements in his works must he situated within a musical style that also speaks to his identity as a Nigerian, and as a West African who shares a similar political and cultural experience with other musicians from the West African sub-region. |
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ISSN: | 0014-1836 2156-7417 |
DOI: | 10.2307/25653068 |