Beruflich Dokumente
Kultur Dokumente
By
August 2018
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ABSTRACT
This research had an overall objective of exposing the capacity of music videos as a
medium for visual communication. The goal was to examine Nigerian Afro Pop music
videos as a site for visual storytelling using an in-depth analysis of the music video for
the song Pray for me by Darey Art Alade. The study aligned with Oliva, Bidarra and
Araujo’s (2017) argument that the digital environment supports the possibility for music
videos to contain complete narratives in what they termedexpanded narratives. The video
text was analyzed deeply using textual analysisby adopting a systematic framework
consisting of four textual analysis elements – identification, significance, connection, and
inferences – and also four major features of visual narratives.The findings revealed that
the music video for Pray for me by Darey Art Alade told a story, and this was achieved
by the use of visual techniques such as cinematography, color, and editing to create
dynamic images that matched the lyrical content of the song. Thereafter, the
researcherconcluded that the use of storytelling within Nigerian songs encourage the
possibility of exhibiting visual narratives in their accompanying music videos.
Keywords: Music videos, Visual narratives, Afro pop, Visual Communication, Images.
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ACKNOWLEDGEMENTS
making progress even when I felt anxious and overwhelmed by this project. I also
I am also grateful for Professor James Tar Tsaaior who helped me with the initiation of
this project, and gave me a sense of direction. For Dr. Pius Onobhayedo, a mentor and
Many thanks to Mr. Munachim Amah, a great fellow who inspired me in many ways, Dr.
Ikechukwu Obiaya, Mr. Anthony Okeaguale, and Mr. Michael Ihekwoaba, who offered
I am also grateful to my classmates and colleagues who have helped me in one way or the
other in the past four years. I thank especially Joseph, Patrick, Chris, Kolade, Dumbi,
Fisayo, Isoken, Chidera, Sam, Uchechi, Naomi, Imelda, Abdul, Yini, Francisca,
Sebastian, Henri, Osadee, Erii, Ezinne, Femi and Marie who became more than just
I will also like to give credit to the PAU community including academic andnon-
academic staff memberswho have been a part of my narrative in one way or the other. I
thank especially Mr. Linus Ocheme, Mr. Kingsley Ukoaha, Dr. Sinmi Abosede, Mrs.
Chinonye Nwosu, Mrs. Tope Falade, Professor Chantal Epie, Dr. Norbert Edomah, Rev.
Fr. Gabriel Ysasi, Miss Chioma Nwokediuko, Miss Judith Onyema, Mr. Sylvester
Efomah, Mr. Emmanuel Onuoha, Mr. Oluwaseun Ijiehin, Mr. Kenneth Esere, Mrs.
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Angela Alilonu, Prof. Juan Elegido, Mrs. Njideka Afolami, Mr. Olubayo Adeniran, Mr.
Tony Osoneye, and the IT staff for their guidance, friendship and support during my stay.
Finally, and most importantly, I thank the almighty God for I am nothing without him.
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DEDICATION
I dedicate this work to my family for supporting me in pursuing a career in Media and
Communications, and for the love they have shown to me all through my journey in life.
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STUDENT’S DECLARATION
I have read and understood the School of Media and Communication Policy on
plagiarism. I declare that this project is my own work and that all sources are fully
referenced. I also declare that I have not submitted this work for any other purpose.
_____________________________
14100110021
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CERTIFICATION
I certify that this work was carried out by Anigbo, Ifeanyichukwu Augustine in the
School of Media and Communication, Pan-Atlantic University, under my supervision.
_________________________________
Supervisor
Dr. Patrick Enaholo
(Lecturer)
School of Media and Communication
Pan-Atlantic University
Lagos, Nigeria.
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Table of contents
Content Page
Title Page.................................................................................................................. i
Abstract................................................................................................................... ii
Acknowledgements................................................................................................. iii
Dedication................................................................................................................ iv
Student’s Declaration............................................................................................... vi
Certification.............................................................................................................. vii
List of Figures........................................................................................................... xi
viii
CHAPTER TWO: LITERATURE REVIEW........................................................... 6
2.0 Introduction......................................................................................................... 6
3.0 Introduction......................................................................................................... 25
3.1.1 Method.............................................................................................................. 27
4.0 Introduction......................................................................................................... 31
4.2.1 Story................................................................................................................. 32
4.2.2 Characters........................................................................................................ 34
5.1Summary of Findings........................................................................................... 42
5.2 Conclusion........................................................................................................... 43
5.3 Recommendations............................................................................................... 44
REFERENCES…...................................................................................................... 45
APPENDICES........................................................................................................... 48
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LIST OF FIGURES
Figure Page
Figure 2: Characters.................................................................................................. 35
Figure 3: Setting........................................................................................................ 36
Figure 4: Lighting...................................................................................................... 37
Figure 8: Color........................................................................................................... 41
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CHAPTER ONE
INTRODUCTION
The Nigerian entertainment industry has experienced phenomenal growth over the years.
music, creative arts, movies, publishing, and stage events leading to high visibility,
investors and global relevance of the industry. Also, it was recorded that the creative
sector makes a contribution of N1.35 trillion to Nigeria’s GDP –even though most of its
Figures revealing the industry’s contribution became available in 2014 upon inclusion of
the industry in the computation of Nigeria’s rebased GDP. This was the first time the
entertainment industry was accounted for, and afterwards it became evident that the
industry was playing a vital role in the economic growth of the nation. As reported during
the Nigerian Entertainment Conference (2017), the Nigerian media and entertainment
industry is tagged with an estimate of US$4 billion. This is coherent with the 2017 report
stated that US$2.8 billion will be added by the industry to the Nigerian market between
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For the African continent, PwC noted that there now exists a disruption in business
internet and smartphone usage. Hence, content is being consumed in newer ways, and
this has also affected how the content is produced. Music videos are one of such
entertainment content, and so video directors are not exempted in the continuous research
and improvement of their audio-visual projects to cater for the ever changing needs of the
digital era.
Nigerian music videos have helped in exporting our cultural norms as well as promoting
the idea of universality in art through the incorporation of visual elements from both local
and foreign cultures in its scenes. Our indigenous artistes have also made great strides by
credibility.
More so, some of our music videos have served ascommunication tools for promoting not
just the music artist but also the ideas present in their songs. An example of this function
can be perceived in the music video for the song “Pray for me” by Darey Art Alade,
which the researcher analyzed in this study. The song tells a story of a man who goes
against the instructions of his father and so has to bear the consequences of his action.
This music video, which was released in May 2016, was directed by Emeka Ossai under
the auspices of his audiovisual outfit, MEX films. He employed a lot of creative visual
techniques like cinematography, editing and colour to achieve the look of the music video
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1.1 STATEMENT OF THE PROBLEM
Nigerian Afro pop music videos have been given little scholarly attention in terms of how
they exist as a form of visual media and communication. This makes it unclear whether
Nigerian Afro Pop music videos go beyond their aesthetic value by having stories
possibilities that exist for Nigerian Afro pop music artists to incorporate a narrative
The overarching goal of this research is to examine the use of Nigerian music Afro Pop
videos as a legitimate site for visual communication. With respect to this, the following
i. To determine how the music video for Pray for me by Darey Art Alade tells a
visual story.
iii. To examine how visual elements are used in the music video.
i. How doesthe music video for Pray for me by Darey Art Alade tell a visual story?
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1.4 SIGNIFICANCE OF THE STUDY
This study is significant as there is scant literature on the value of Nigerian music videos
as a medium for visual communication. If executed successfully, it will help to fill this
gap, and also provide a storytelling guide for Nigerian music video directors.
There exists a myriad of Nigerian music videos. However, I will be focusing on one
Nigerian Afro Pop music video in this study:Pray for me by Darey Art Alade, its visual
elements and storytelling value. The reason this video has been chosen is because the
artiste is very popular and has garnered international recognition over the years. Thus,
Darey Art Alade gets his music and music videos listened to and viewed respectively, by
This study represents only contemporary Nigerian Afro Pop music videos seeing as the
videotext in focus was released three years ago. It therefore does not account for older
Nigerian music videos that were released as far back as the 20th century. The study also
makes an analysis of one video so this limits the extent to which the conclusion can be
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1.7 OPERATIONAL DEFINITION OF TERMS
Afro Pop: This is a sub music genre in Africa, which was made popular by African
music artistes. It is a short form for African popular music. It is largely influenced by
Music video: This refers to audio visuals created by video directors for the purpose of
Visual Storytelling: This has to do with representing stories visually while reflecting the
Narratives: This refers to the act of narrating a series of events or story that has
Site: This refers to a location or space where an action can take place.
Pray for me: This is the title of the Nigerian Afro pop song that the music video being
Darey Art Alade: This is the name of the Afro pop music artist behind the song as well
Nigerian Afro Pop Music Videos: This refers to any music video that is created to
promote a Nigerian song that falls under the Afro pop music genre.
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CHAPTER TWO
LITERATURE REVIEW
2.0 INTRODUCTION
An area of cultural communication that has not been given enough attention within the
Nigerian context is how Nigerian music videos have a storytelling and communicative
function beyond the aesthetics they offer. This is despite the power it wields in
influencing a lot of viewers who would not mind staying on for a 3 – 5 minutes video, in
comparison to sitting in for long hours as experienced with other forms of visual media –
film, TV programs. This chapter works with theories and previous literature surrounding
music videos as well as narratives. It helps to bring to light the literary value of Nigerian
terms it can be said to be the overlay of images to music. Several scholars have also
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Shuker (2001) described music videos as “promotional devices used to encourage record
sales and chart action”. In other words, music videos are a form of advertisement used to
promote musical singles. This definition relates with the original rationale behind the
creation of music videos, which was invented to advertise music singles through airplay
According to Cawley (2015), before the launch of MTV in 1981, there had been a long
era of music videos, which were only aired occasionally on TV stations during weekly
pop programs. He adds that a notable piece by the Beatles, the most influential band in
the history of pop music, released in 1967 for their song ‘Strawberry fields forever’, was
born out of the idea of creating a ‘promotional film’ for their song, which was inspired by
two movies A hard Day’s Night and Help! It featured a creative mix of visual techniques
like slow motion, fades, reversed film effects, and some unusual camera angles.
Subsequently, they recorded more promotional films for their future singles especially
Also, Cawley (2015) continues, pop music artist Michael Jackson was the first to have his
music video created as a short film. The 13 minute long video for his hit single Thriller,
which debuted on MTV on December 2nd, 1983, was listed in the Guinness book of
records as the “most successful music video”. Hence, by the 1980’s accompanying a song
More so, the arrival of MTV spurred the rise of more TV stations dedicated to airing
music videos. Some international stations like Channel O and TRACE, and local stations
like Soundcity TV, Planet TV and Afropop TV fall under this category.
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With digital technology like iTunes, music videos have now become products that can be
(2018), the largest and most popular online resource by which music videos are being
discovered and consumed today is through the YouTube video streaming platform.
YouTube, an app which was founded in 2011, not only houses millions of audiovisual
content, with music videos being the greater percentage, but also has a playback service
allowing the viewer see a video over and over again. It also opened up its doors for
Furthermore, Dyer (1975) posits that music videos exists to establish the artists ‘star
persona’. This is a way of saying that they exist to allow viewers to create a perception
about the artist or band, as it relates to what they stand for, their fashion choices, and their
performance skills. This also stands with the sense that not everyone will have the
opportunity to go see his or her favourite music artist perform live. Hence, music videos
Goodwin (1992) put forward six codes and conventions of music videos. According to
I. A match between the lyric and the visuals: He says that in every music video,
there has to be a relationship between the lyric of the song and the images in the
video. The visuals may either complement the lyrics by illustrating and
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II. A match between the music – beat and rhythm - and the visuals: There also
has to be a relationship between the images shown with the music. Similar to the
first code, the visuals may either complement the music by illustrating and
III. Genre conventions and Iconography: This states that the iconography present in
a music video depends on the genre of the music. It can also be seen as
constituents of the visual stylistic elements within the music video including the
Bentley, private jets, bottles of crystal, and lots of low angle shots to represent the
IV. Star representation: This supports Dyer’s idea that music videos are used to
establish a star’s persona. In order to achieve this, there has to be multiple camera
close-ups of the artist or band being promoted. This will in the long run, aid in
building a recognizable brand image that will have an influence on record sales.
V. Voyeurism: This is another key element of music videos. It says that music
videos satisfy the desire for people to watch other people express sexual intimacy.
This is projected by the objectification of women in music videos who are mostly,
VI. Intertextuality: This points to the existence of references to different media texts
like films, books, TV shows, within music videos. Thus, there is some form of
textual convergence in the videos, which adopt this style. This is more popular
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2.1.2 Visual storytelling / Narrative
Visual Narrative is a term that refers to any visual that by its essence narrates a story, and
does so explicitly; where a visual is that which can be perceived with the human eye, a
temporality, and a narrative can be seen as the act of telling a story or the representation
of a story (Pimenta & Poovaiah, 2010). It is a term synonymous to visual storytelling, and
examples of popular fields that are studied as visual narratives are live action films,
illustrations.
the visual structure and the typical constituents of a narrative, such as: exposition, conflict
and resolution. He proposed exposition to be the story’s beginning. Conflict is the vital
part of the narrative, which gives the story impulse. A conflict can be in two forms,
internal (that is within the character) or external (when it is connected to a situation). The
resolution is said to be the moment where the conflict is resolved and the audience is left
to reflect on the narrative’s conflict. In other words, it is the end of the story (Bruce
Even more, in her publication “Narrative image: the how and why of visual storytelling”,
Molnar (2011) opines that “visual stories are a powerful direct method of conveying
information, ideas, and cultural wisdom”. She adds that images tell stories with the use of
semiotics, which are visual cues or signs if put together, form patterns that send a
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message to the viewer. According to renowned philosopher, Charles S. Peirce, signs can
be categorized into three; iconic signs, symbolic signs, and indexical signs. Iconic signs
look similar to what they represent. For example, a stick figure represents a human.
Conversely, a symbolic signdoes not look similar to what it stands for. Its meaning comes
from prior understanding. For example a flag that has a green, white, and green stands for
the country Nigeria. This has no direct relationship to what it translates, unless it is being
learnt. An indexical sign is that which gives a transferred meaning from what is being
displayed. It is deduced meaning and so is inferential in nature. For example, smoke can
be an indexical sign for fire. These three types of signs are combined together to
communicate visually, and this is how images tell stories (Molnar 2011).
In their paper, “On defining visual narratives”, Pimenta & Poovaiah (2010) categorized
visual narratives into three divisions based on their functionality. They are Static Visual
Narratives (SVN), Dynamic Visual Narratives (DVN), and Interactive Visual Narratives
(IVN). The Static Visual Narrative is usually fixed on the surface of the medium of
display, but also has dynamism in the sense that the viewer’s imagination perceives the
story in a mobile manner. Examples of SVN are cave paintings, comics, graphic novels,
picture books, infographics etc. The dynamic visual narratives are visuals that are
replaced continuously within the same space. In this case the visuals keep moving, but
the viewer retains the same location. Examples of DVN are drama, animation, live action
films, and puppet shows. In the interactive visual narratives, the visuals appear to be
fixed as in SVN, but can be changed continuouslyas in DVN, when triggered. Here, the
viewer tends to be in control, as he/she can be static or mobile while in consumption, and
can also be part of the story being told. Examples of IVN include interactive video games
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and storybooks. Without doubt, music videos can be said to fall under the DVN category
Pimenta & Poovaiah (2010) outline five features that every visual narrative possesses.
I. A story: This can be said to be the most important feature of a visual narrative. A
resolution. The way in which the events are arranged is called the story’s plot.
Also, with music videos the lyrics of the song also serves as part of the story
being told.
person or animal who performs an action that is relevant to the story. Without
actors, a story cannot be told as stories or events are built around the actions made
by characters.
III. A story universe: In visual narratives, the characters are usually placed in a
‘virtual story world’. In other words, they exist in a universe that tries to imitate
the real world or may be an imagined world but is different from the world of the
refers to “what is going on in the [camera] frame outside editing and sound”. This
includes aspects such as props, setting, light, costume, make-up, and actors’
such a way that it assists in communicating the intended meaning of the story to
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the viewer. This is achieved in film with the use of cinematography (shot types,
camera angles), color, and editing. The shot types include; Extreme Long Shot
(ELS), Long Shot (LS), Medium Shot (MS), Close Up shot (CU), and Extreme
The extreme long shot is an establishing shot usually used by a director to show a
vast area and establish the geography of a location. The Long Shot is used to show
the entire action in a scene to help the viewers know the characters involved. The
shot’ when it shows actors in a dialogue. It helps to create intimacy with the
viewers and the characters. A Close Up shot is used to help emphasize the
dramatic nature of a character’s act. It does a great job in revealing the character’s
attitude or thoughts. The Extreme Close Up shot as it implies is a very tight shot,
as it fills the screen / frame with the character’s face, helping to intensify the
subjective angle, point-of-view, low angle and high angle. The objective angle
also known as the audience point of view is used most times in filmmaking. On
the other hand, the subjective angle is used when a character looks directly into
the camera frame. This is used to establish an eye-to-eye contact between the
viewer and the performer. A Point-Of-View (POV) angle is usually used in a ‘two
shot’ to show a scene from a particular actor’s view-point. Low angle is achieved
when the camera is placed below the actor. It is used to make the character appear
strong, victorious or with authority. Conversely, high angle is achieved when the
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camera is placed above the character and is used to make he/she appear weak,
called depth of field which a director uses to focus the audience’s attention on a
particular object or actor, and it is of two types namely shallow focus and deep
focus. Shallow focus means that one thing will be given focus, while others will
be blurred out. Deep focus means that everything within the frame will be clear
In general, anything visual that has the purpose of communicating an idea with a story
Afro Pop music is a term used to refer to African popular music. The origin of the term
(2017) as “a blanket genre of music that brings all types of African styles of music under
one big umbrella”.One can make a guess that it resulted as a desire to give a name to the
new style or genre of music that arose in the early 21st century. Afro Pop music can be
said to be music that fuses different elements of popular music, but with a heavy
influence of African rhythm or melody, hence where it gets its tag from.
English online dictionary. According to Altman (1999), film genres have the capacity to
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offer audiences ‘a set of pleasures’. He further categorizes these pleasures into three sub
groups which are: emotional pleasures, visceral pleasures, and intellectual pleasures.
Emotional pleasures refer to films or in this case, music video texts that make the
audience, happy, sad or Nostalgic. Visceral pleasures are congruent with texts that makes
the audience express instinctive responses in the form of fear, excitement or laughter. The
third, intellectual puzzles, is a result of texts that challenges the mind of the audience.
Amongst these, the Afro Pop genre is more akin to offering emotional pleasures to its
Pop music in general tends to explore certain recurring themes. These include rebellion,
which has to do with some level of non-conformity to societal or family norms and
sometimes an abuse of sex, drugs, and alcohol;Romance, which is probably the most
culture as well as reminiscing on good times gone by; Fashion/style, this is a part of
subcultures and very common among the youth; Artistry, how skilled the musicians are;
Celebrity, the flamboyant persona exhibited by artists and bands; Hedonism, the art of
living just for the sake of pleasure; and Tribalism, here referring to more than just ethnic
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2.2 THEORETICAL FRAMEWORK
This study is built on one theory that helps with the study of music videos. The theory
provides a structure for the execution of this study and aids it understanding. This theory
Several scholars have put forward theories around the study of narratives. However, I
will be focusing on that of Sven Carlsson, which speaks about Narratives as it relates to
music videos.
Carlsson (1999) is popular for his theory, which argues that there is a triangular
relationship between the music, lyric and image, and occasionally sound - in the presence
of dialogue - in a music video. He also proposed that there are two clip types of music
videos, which are the performance clip and the conceptual clip. The conceptual clip can
is that which results from filming a live concert performance, or involves a dance
performance, or dwells heavily on how the artist performs renders the song which
involves lip-syncing.
The narrative music video clip is understood as the traditional visual narration style of
Hollywood filmmaking. This has to do with continuity narrative editing, and it usually is
composed of the music playing over a silent movie narrative with dialogues coming in
occasionally in some. Unlike the performance clip, this does not involve lip-syncing and
the stories, which it depicts, relates with the lyrics on most occasions.
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Figure 1: Sven Carlsson’s Triangular Model for Music Videos.
Music
Lyrics Image
Sound
The experimental or abstract music video clip is what you find when a music video is
neither a performance clip nor a narrative clip. They are also called conceptual clips and
are geared towards being artistic. As expected from the term abstract, these type of clips
may not make sense, and lack surface or literal meanings. Although, they tend to invite
the audiences interpretations. Also, they may sometimes have sections of performance or
Furthermore, Carlsson posits that there are three types of performers in music videos.
These are the commercial exhibitionist, the televised bard, and the electronic shaman.
The commercial exhibitionist as the term implies, refers to performers who have a focus
personality with emphasis on celebrity lifestyle, material wealth and the artiste’s sex
appeal. Consequently, the audience aspires to be like this character and are easily
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influenced by them when making purchasing decisions. This is commonly seen in pop,
The televised bard can be seen as a contemporary bard, where the term bard refers to one
who narrates a story or simply put, a storyteller. Unlike traditional storytelling, however,
they use the screen as their platform, instead of a stage, and have visual illustrations of
the story they are telling rather than relying on the imagination of listeners. This
performers usually employ the narrative clip or the hybrid performance/narrative clip for
Thirdly, the electronic shaman are usually invisible, as they are rarely seen in the video.
Rather, the voice and rhythm are the elements that work together to give meaning to the
visuals being shown. They tend to give a sense of displaying an alter-ego, and as such
have hidden and sometimes strange messages beneath the video. These performers, as
suggested, use the abstract video clip for their music videos.
the basic constituents of music videos. They also give a lot of insight on the different
approaches music artistes as well as music video directors take in a bid to maintain an
identity or identify as part of some culture. Also, his mode of categorizing music videos
helps the researcher in efficiently benchmarking Nigerian Afro Pop music videos for their
the music video text in focus can be assessed for its visual communication value.
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2.3 EMPIRICAL REVIEW
The study of music videos, a largely produced, distributed and popular form of film, as a
channel for visual communication has been given more attention amongst foreign
researchers. However, a media scholar, Carol Vernallis, appears to be the most credited
researcher in this field, as her works were referenced severally and so this section is
based on a lot of her findings. More so, there was rarely any research work done locally
In her article titled, “The aesthetics of music video: an analysis of Madonna’s ‘Cherish’,
Vernallis (1998), found out that music videos tend to avoid a narrative direction. She
states,
Because a music video must - above all - sell the artist and a particular
song, the degree of self-restraint demanded of its director can be
considerable. A director must usually abandon hope of creating a
traditional narrative, even one which the song's lyrics relate. Moreover,
he or she will often find that the pressure exerted
by the song prevents the accurate representation of fixed objects: objects
in music video will tend to shimmer, change continually, and threaten to
fade away (Vernallis, 1998).
According to her, the brevity of pop music contributes to this issue. They are usually
sectioned into verse, chorus and bridge and so this makes it a challenge for the videos to
have a consistent narrative drive against the differentiated and repetitive sections. In the
‘Cherish’ video, the characters did not speak and since there was more emphasis on a
visual connection between the visual and the music, than the lyrics, its narrative structure
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In a review of Vernallis’ book “Experiencing music videos: aesthetics and cultural
context by Savage (2006), she expressed Carol’s view that “most musicvideos tend to be
non-narrative” (4). Even though, there exist similarities between music videos and films,
Vernallis provides a distinction between them. She does so stating that while Hollywood
features a combination of sound, image and text, with each constituent serving to foster
clarity and achieve a narratives’ end, music videos seem to have a higher level of
uncertainty. More so, some music videos may still appear to have a clear beginning,
middle, and end, but its polyvalent nature still reduces the story’s clarity. She posits that
narratives in music videos are ‘disjunctive’, since no connection between, word, images
and music exists, and even though they attempt to tell a story, the story is not completed
(13).
In another study by Oliva, Bidarra & Araujo (2017) titled, “Video and storytelling in a
digital world: interactions and narratives in videoclips”, they expressed a supporting view
that, “Regarding videoclips (or music videos) … storytelling becomes more complex if
we analyze some important remarks such as: the music timing, the advertising and
marketing of the songs, and the artist’s image and performance”. They added that MTV
possibilities of narrative music videos; this aligns with the consideration that the exact
time of a song was the criteria used in slotting them into a programme. Hence, music
video directors felt restricted from inputting dialogues as a way of building the videos
narrative, but there existed some exceptions like the iconic music video Thriller, by
Michael Jackson.
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However, Oliva et al (2017), assert that the digital era and its online environment give
music videos with complete narratives. They acknowledged that “contemporary music
videos extends the time of music and focuses its visual elements in well-defined
Furthermore, they analyzed two contemporary music videos Hello by English singer
Adele and “College boy” by French band, Indochine, to support their argument. From
their analysis of Hello, they found that the characters and their actions were presented in
such a way that the story was understood. Also, there was an amplification of the
narrative using different mechanisms that offered them the identification of a basic story
structure. They noted that the online music video platform, YouTube, permits the
tendency for music videos that are based on narrative structures which are similar to
More so, in one of her recent titles, “Unruly media: YouTube, Music video and the new
digital cinema”, Vernallis (2013), analyzed the music video “Telephone” by Lady Gaga
and Beyoncé. Here she stated that, “Telephone feels like a feature with all of itsboring
bits cut out. One senses a completefilm residing behind the clip”. According to her, the
video has a substantial introduction and it presented a rather long segment of narrative
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exposition. She adds that the song also aided in making a narrative more possible. The
song is more fragmented than regular pop, and so facilitated more interruptions in the
unfolding of the images. Hence, her new views support the idea that limitations to time of
song no longer exists, and so instead of deconstructive narratives, new media gives room
to expanded narratives.
This study fills a gap in literature in terms of how Nigerian music videos serve as
medium for storytelling or narratives. The study examines how narratives do exist in the
local Afro Pop music videos, and highlights how visual elements are used to build these
narratives.
The methodological literature review is intended to identify the methods which other
researchers that have carried similar research work used in arriving their conclusions.
This study is based on visual communication with a specific focus on storytelling through
Many music video scholars have employed textual analysis in their study. For example,
Vernallis (1998) in her article “The aesthetics of music video: an analysis of Madonna’s
‘Cherish’, used textual analysis to extract meanings from Madonna’s music video,
Cherish. Through this means, she was able to conclude that music videos rather than take
a narrative direction, apply a match between the rhythm of the music and the visuals.
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Vernallis (2013) also used textual analysis in her deconstruction of the video text
“Telephone” by Lady Gaga and Beyoncé, in her book title, “Unruly media: YouTube,
Music video and the new digital cinema”. With this she was able to conclude that the
video was more like a feature film, and that the song and video worked together to
Furthermore, Oliva et al (2017), in their study, “Video and storytelling in a digital world:
interactions and narratives in videoclips”, used textual analysis in their analysis of the
music video Hello, by Adele. They concluded from their analysis that narratives, thanks
to the digital world, are now gaining more strength due to the contemporary platforms
Some other researchers have taken a different route which is the review of music videos
and secondary materials. For instance, Savage (2006), wrote a review of Vernallis’ book
“Experiencing music videos: aesthetics and cultural context”. Through her review, she
was able to highlight the commercial constraints that tend to challenge the ability of
One theory was highlighted to form the theoretical framework for this study. Because this
work explores the use of visual storytelling in Nigerian Afro Pop music videos, it became
narrative theory as propounded by Carlsson, which deals with the idea and structure of
music videos. It also presented the researcher with the roles that different music artistes
23
play in a music video as well as the different types of music of videos clips and their
narrative.
The review of key concepts like visual storytelling, music videos and Afro Pop provide a
basis for understanding what would later be seen in the section of this research work that
deals with the analysis of data and discussions. It became clear from the publication by
Pimenta & Poovaiah (2010), that there are different forms of Visual Narratives, and that
music videos are of the Dynamic Visual Narrative type. Also, the review of empirical
literature helps to give a background to pre-existing research work that serves as lead to
this one. The review revealed the debate over the existence of complete narrative
structures in music videos with works from Vernallis (1998), and showed that new media
Lastly, the methodological review showed that the method mostly used by scholars of
music videos, is that of textual analysis, and some other times, a review of secondary
material. Most of these studies have also been presented in the form of essays, books, and
articles that were published as part of a journal. Hence, this research relied on the existing
24
CHAPTER THREE
RESEARCH METHODOLOGY
3.0 INTRODUCTION
This chapter exposes the methodology used in analysing the study’s research questions,
and also outlines the path to be adopted in realizing the research objectives. It includes
information regarding the research design and methods of data collection. It also reveals
the rationale behind the selection of the design and method utilized for the study. It
concludes with information about the research instruments employed for the data analysis
data and analysing it in an empirical research project. It forms the base that gives the
study balance and instructs how it is to be executed. The research design, no doubt, also
gives the study a clear sense of direction for empirical research. It serves as a framework
This research is of the descriptive type. It gives insight to how Nigerian Afro pop music
videos serve as a site for visual storytelling. Descriptive research is a type of research that
attempts to describe the occurrences of the society. It answers questions that deal with
‘what’ and ‘how’, and this research is concerned with how Nigerian Afro pop music
videos tell stories, and what thematic concerns these stories explore.
25
Qualitative design was used to gather and analyze the data of this research. This research
method has been used often times in social science research to understand people’s
attitude towards their external realities. It aids in providing reasons behind people’s
feelings, their ideas and perception, which the quantitative design may not achieve
feelings about a topic, and this helps a researcher to gain information that the quantitative
Hence, this research has utilized the qualitative method in interrogating its research
questions:
RQ1: How doesthe music video for Pray for me by Darey Art Alade tell a visual story?
In order to investigate these questions, the qualitative research design has been utilized to
gain a comprehensive knowledge of the inherent variables, especially the visual elements
used in Nigerian Afro Pop music videos to tell stories. The study demands that the music
video texts to be analyzed are viewed severally in order to properly extract the relevant
information that lies within them, and also that the researcher is open-minded in doing so.
In order to achieve a systematic data gathering and analysis, the study has to be
approached by the researcher with a plan that includes themes and questions with which
26
3.1.1 Method
Textual analysis has been used for the purpose of this research. This method, which is
qualitative in nature, was adopted to obtain qualitative data, which was analyzed by
employing some guidelines developed for the purpose of this research work.
This method has been described as a means by which researchers obtain relevant
information on how humans see their world (McKee, 2003). According to McKee (2003),
it is a process for gathering data for researchers who have as their goal the understanding
of the different ways by which different people of different cultures and subcultures
There are different ways by which this can be approached. However, this research
adopted the Interpretative Textual Analysis,which has been used broadly by researchers
in areas of media studies, mass communication, cultural studies, etc. to examine and
“it involves giving ‘most likely’ interpretations of texts”. It penetrates past surface
elements; the author’s intent, text-based meaning, and response of readers (Howe, 2015).
questions, identification of a literary device, and the significance of the whole passage.
This study adopts her framework, but applies only four out of the six components, which
suit the purpose of the research. These are inferences, connections, identification of a
27
Furthermore, Trottier (2013) opined that textual analysis should be carried by following
the stages of her proposed framework sequentially. However, the study required only four
out of the six stages, and as such has a slightly unique framework. Hence, it becomes no
longer compulsory to adhere to the prescribed sequential order. Rather, the analysis was
done with a different sequence, which was suitable for the purpose of the study. This new
sequence begins with the identification of the elements, then proceeds to the significance,
The reason behind the use of textual analysis as the method of this research has to do
with its suitability for analyzing texts. Flood (2003), says textual analysis connotes the art
of making intelligent assumptions of the meanings that may lie within the text being
studied. According to Frey, Botan & Kreps (1999), its purpose tends towards the
description of the structure, content and functions of messages found within texts, where
texts refer to different forms of media like films, television programs, advertisements,
books, music etc. As regards this study, the texts to be analysed are Nigerian Afro Pop
music videos.
This study has been conducted on music videos, and so has a unique study population.
This population constitutes of the 225 Nigerian music videos that were released in the
year 2016 – the same year that the music video for Pray for me was released – by popular
28
Nigerian music artists. Refer to the appendix section of this paper for a list of the
Due to the nature of this research, the sampling method was purposive. The sample was
determined with careful consideration of the research objectives. The research looks at
the way Nigerian music videos tell stories, and in accordance with this, a Nigerian Afro
Pop music video text was specifically selected for in-depth analysis. As mentioned in the
Chapter One, the video selected was Pray for me by Darey Art Alade, and it was chosen
because the music artist, Darey Art Alade is known for his explicit use of storytelling in
the lyrical composition of his songs. Hence, the researcher sought to find if the stories
present in his songs were being captured in their accompanying music videos, and also
Also, the music video was chosen amongst a myriad of music videos released in 2016,
because of the popularity the song gained that year. The song bagged the title of‘Best
Recording of the Year 2016’ from the Headies award – the most revered music award
ceremonyin the Nigerian music industry– defeating other songs by veteran Nigerian
music artists including D’banj, Simi, Adekunle Gold, and Brymo, which were nominated
in the same category. Its music video was also nominated as the ‘Video of the Year’ at
the Soundcity MVP Awards 2016. These were the attributes that made the researcher to
choose the music video for Pray for me as a suitable text for analysis.
29
3.5 RESEARCH INSTRUMENT
attaining accountability used for the collection and analysis of data. The means of
obtaining data for this study was by watching the selected music video text severally,
keeping in mind the four components of the textual analysis framework mentioned
earlier.
More so, to analyze the videos for its storytelling value, the researcher looked out for the
major features of visual narratives as expressed in the conceptual review including: Story
costumes, lighting, make-up, props and actor’s performance), and visual composition (in
The presentation of the obtained data from this study was done principally in a prose
form. This is because the study is qualitative in nature and its method, textual analysis,
demands the analysis of texts using words. Also, images from the music video text were
screen grabbed and inserted within the project as supporting data for the analysis. This
format allows for readers to truly appreciate the content and value of music videos as a
discussion in order to give enough grounds for analysis. Textual analysis uses a lot of
evidence from the text being analysed to serve as a basis for the interpretation (Curtin,
30
CHAPTER FOUR
4.0 INTRODUCTION
This chapter discusses the findings from the analysis of the music video text under study.
This analysis of data is very vital to the research work as it gives an opportunity for
interaction with the texts. As mentioned earlier, the principal method used for collecting
data was textual analysis, and this data was deconstructed by means of discussion. This
chapter puts forward the understanding and research discoveries of the researcher from
The Nigerian Afro Pop music video studied is Pray for me by Darey Art Alade. The
researcher began by deciding the storytelling and visual elements to be studied. In order
to achieve a wholesome study of the visual storytelling value of the texts, the major
features of visual narratives where highlighted and they include: a story, a visual
On deciding the elements to be studied, the next step was to watch the videos bearing the
elements in mind. Adopting Trottier’s framework for textual analysis as planned, each
element was first identified by the researcher in the discussion section of this chapter.
This was followed by an account of the significance of the element being discussed, then
31
4.2 DISCUSSIONS: Pray for me by Darey Art Alade.
4.2.1 Story
The story is about a young man named Darey, who decides to leave his hometown for the
city in search of a better life. The film begins with a dialogue between Darey and his
father. Darey tells his father about his intentions to leave their hometown for the city.
Although his father is not in support of this, Darey insists on leaving not minding his
father’s disapproval. The next morning, he packs up his bag and takes his leave, waving
goodbye to his mother and sister as he boards a local taxi. Soon after, he is now in a bus
en-route his destination. While in the bus, we see a flashback scene of him in his
However, it does not take long before the bus breaks down, and he and other passengers
have to find alternative means of continuing their separate journeys. Fortunately for him,
he is picked up by a truck and gets a chance to sit with some other passengers in the trunk
of this vehicle.
The next scene opens up in the city. Darey looks settled, and decides to write a letter to
his father. Although, back at his hometown, his mother has just died and his father and
his sister are paying homage at her grave. Afterwards, another day presumably, a
postman delivers a letter to his sister, which she hands over to her father. This letter is
from his son who has been away for 4years and 11 months as informed by the lyrics of
the song. His father looks anxious while reading it. In the letter, Darey informs him about
how life in the city is truly difficult just like he warned, and requests that he (his father)
32
The narrative ends with his father lifting up his hands in prayer for his son, and this
causes some earthly eruptions like a thunderstorm, and hatching of a bird’s egg.
The idea of opening the story with a dialogue between Darey and father, helped to give
the audience an overview of the situation at hand, thus, the narratives exposition. This is
“Woke up one Sunday morning, told my daddy I’m leaving home, going off to the city
tomorrow even though I don’t know where to go. Daddy said son don’t be a fool, cause
life in the city is unbelievable. You could get broken, you’re just a little boy, and you
The exposition also includes the introduction of the major characters in the film and gives
The conflict of this story started when the bus, which Darey was using for his transit, had
some technical fault and broke down. This event was an external conflict. Although, he
also experiences an internal conflict. This was expressed in his letter to his father, about
how he now understands the reason behind his warnings not to leave home. It is
“it was true what you said to me, that life in the city is unbelievable, had to struggle just
to get by every day, and I could barely find my way… forgive me father but I had to take
a chance, and I’m already gone, so just pray for me, gbadura fun mi, pray I find my
way…”
Also, his father experiences some level of conflict as well. This is when his wife, Darey’s
mother, dies, making him a widower. He also felt conflicted when he received Darey’s
33
letter about how life is not going so well, and it was shown through his expression of
anxiety. The resolution can be said to exist where having read his son’s letter, and
learning of his request for his prayer, he goes outside and lifts his hands which serves as a
symbolic sign for prayer – praying for his son. This can translate to forgiveness and
4.2.2 Characters
The music video narrative consists of four active characters. They include the
protagonist, Darey, who plays the role of a defiant son, and is also the music artiste
behind the song, his father, his mother, and his sister. Other characters are shown within
the narrative, but are not considered to be major characters. These include the passengers
in the bus, which Darey boarded for his trip, the passengers in the truck that picked him
34
Figure 2. Characters; a) Darey, the protagonist b) Darey’s father c) Darey’s Mother
d.) Darey’s sister (with their mother) e) the passengers in the bus f) the passengers in the truck
g) the postman
Darey plays the most significant role, as the story surrounds his actions and decisions,
which move the story forward. In the lyric of song, he makes mention of a father, and so
it was vital that this was represented in the Narrative. Olu Jacobs, a veteran Nollywood
actor, plays this role. He also makes mention of his mother in the song, when he sings
“hope mama is doing okay…”, as part of his letter to his father, and Joke Silva, another
veteran Nollywood actress is used to represent this character. Darey’s sister is not
mentioned in the song, but she appears in the video during family moments, sharing in
35
4.2.3 Story universe
The story was set in two locations. A rural environment which suggests a village setting,
Darey’s home, and a relatively urban area, which suggests the city, Darey’s subsequent
destination. In the start of the music video, when Darey and his father were having an
argument, they both spoke Yoruba at certain points, thus, indicating that this were natives
of the Yoruba people in Nigeria. Thus, providing a context for the viewer to better
understand the story. Also, the ankara costume worn by the characters, also coheres with
the attire commonly found to be worn by Nigerians, especially those in rural settings.
Also, Darey’s mother wears no makeup throughout her appearances, thus, flowing with
Furthermore, there is the use of letters to send messages across distant places, in this case
from Darey to his father. This gives an idea of the temporal setting of the video. It
connotes that these events are from past times when there was no modern technology
Figure 3. Setting; a) an aerial view of the city. b) Darey’s sister receiving Darey’s letter from the
36
More so, different intensities of light were used to set up scenes. Throughout the
exposition, when Darey was still in his hometown, the environment was well lit. In
contrast, on reaching the city, anytime Darey was shown, it was in a dark room of some
sort. Even more, the mattress in his room in the village was lifted on a wooden frame,
while the one in his room in the city was placed directly to the floor. This was a way of
building the narrative and revealing Darey’s change in livelihood. As he informed his
father, he had to endure struggles, and so the Director used these contrast to show
conflict.
Figure 4. Lighting; a) Darey on his way out of his well-lit room in his village. b) Darey writing a
In composing the music video, the director employed different framing techniques to help
drive the narrative. Here are some key frames that helped in building the different stages
of the story.
37
Figure 5. Shots from the exposition stage of the story.
In fig. 5a), the frame reveals a dialogue between Darey and his father, and accordingly,
the director uses a medium shot to show this. As mentioned before, the involvement of
two people in a medium shot is also is known as a two shot. The camera angle used for
this shot is the point-of-view angle, and in this particular frame, the dialogue is being seen
In 5b.) The frame reveals Darey’s mother who is eavesdropping on their conversation. To
achieve this shot, the director uses a medium shot of Darey’s mother, giving enough room
in the frame for Darey and his father, but, the director uses shallow focus, to help the
viewer focus more on Darey’s mother, making the other two characters blur. This frame
is also taken with an objective view, thus, perceived from the audiences’ point of view.
Both shots are intelligently framed to allow the viewer understand the situation of the
38
Figure 6. Shots from the conflict stage of the story.
In fig. 6a) the frame reveals Darey as he walks on the road after the bus he boarded just
broke down. The director uses an extreme long shot which is taken from a high angle for
this frame and does so for good reasons. First, the shot type used helps to establish the
geographical setting of the area where Darey finds himself. It is an area with no
habitation, and so he is, in a sense, without any help. The high angle view also makes
Darey look small, and this concurs with an intention of making him look powerless as
In fig. 6b) the frame shows Darey very sad with tears rolling down his cheek. The
director uses a close up shot to achieve this. This helps the viewer appreciate the dramatic
detail and current attitude of the character. It also emphasizes the idea that Darey is
undergoing a conflict.
In fig. 6c) the frame shows Darey’s father reading the letter from his son. The director
once again uses a close up shot to show the expression on the character’s face. He is in a
state of sadness as he learns that his son is not doing well in the city. If a less close view
were used, the viewer would not have been able to appreciate the emotion with which the
39
These shots, as expressed, do justice in revealing the conflicts being faced by the story’s
characters. Also, all the three shots are done with an objective view, such that they are
In fig. 7a) the frame reveals Darey’s father lifting up his hands in prayer. The director
chooses to use a high angle view for thispurpose. This makes Darey’s father look small as
expected, not as a weak character, but in this sense to show his submission to his son’s
request.
In fig 7b) the frame shows Darey in his room in the city. A high angle shot was also used
here. In this sense, to express his frightened look. This is because a bright light had just
shone towards him, so it was not to depict conflict, but in fact to diminish the darkness he
existed in. The entry of the light came in some shots after his father prayed for him, thus,
emphasizing resolution.
Furthermore, the presence of color and its lack also played a role in telling us more about
the story. At two occasions, the film was changed to grayscale (or black and white). The
first occasion was when Darey was in the bus, and remembered good times with his
mother. The second time was when he was writing the letter to his father (and using the
40
voice of the narrator) asks about his mother, then a scene revealing his father and sister
standing sorrowfully, holding a flower at a place with a cross is shown. This also goes to
say that absence of color was used to depict flashbacks in the Narrative. It also tied two
events that had to do with his mother, her lively days, and her death day. Another
important thing to note is that the second scene used the combination of the cross (a
indexical sign, to produce the meaning that his mother had died.
Figure 8. Color; a) Darey sharing a pleasant moment with his mother. b) Darey’s father and
Editing also helped to move the narrative forward. The arrangement of the different
scenes in the music video were made possible through editing, and so like flipping a page
in a story book, editing helped to provide the flow required for the video’s dynamism.
41
CHAPTER FIVE
The general objective of this study was to explore the use of visual storytelling in
Nigerian Afro-pop music videos using the music video for Pray for me by Darey Art
Alade as a case study. This objective was broken down into specific objectives which
i. How doesthe music video for Pray for me by Darey Art Alade tell a visual story?
After a textual analysis of a Nigerian music video, Pray for me by Darey Art Alade, the
i. The music video for Pray for me by Darey Art Alade tells a story, which was a
and resolution. The video text also worked with the lyric of the song to achieve
the story, and had the singer perform as the story’s narrator.
ii. The overriding theme being explored in the story of the music video was clearly
that of rebellion. Even though his father’s instruction was that he should not yet
go to the city, Darey insisted in achieving his desire to do so. This disobedience
exemplifies his non-conformity to his father’s wish, and can be likened to the
42
story of the prodigal son of the Holy Bible, who insisted on leaving home with his
iii. The storytelling was enhanced with visual elements such as cinematography
(which involves different shot types and camera angles) color, and editing. Also,
semiotics or visual cues like symbolic and indexical signs were used to project
meanings in the narrative. The director in visually communicating the ideas and
messages of the story, intelligently matched these elements with the lyrical
5.2 CONCLUSION
The findings from this research help to reach valid conclusions. Analysis from this
research show that Nigerian Afro Pop music videos do have the capacity for visual
communication. This is aided with the exploitation of visual signs and filmic techniques
that help music artistes as well as music video directors create messages that have
It also proves that there is room for storytelling in Nigerian Afro Pop music videos. And
in fact, that these stories can be told completely with a beginning, middle, and end, in
what is known as expanded narratives. This allows the inclusion of dialogue which is not
restricted by the actual time of the song, as supported with digital or new media platforms
like YouTube.
Even more, the analysis further confirms the validity of Sven Carlsson’s Narrative theory,
by showing a relationship between the lyric and images displayed in the music video, and
exemplifying how music artistes can serve as a television bard, ‘a modern storyteller’,
43
who narrates the story being conveyed within a music video.Thus, it can be asserted that
Nigerian Afro Pop songs with a storytelling value, make it more possible for their
5.3RECOMMENDATIONS
This research has attempted to expose the possibilities that Nigerian Afro Pop music
videos have as a medium for visual communication. The music video text in focus was
found to perform a complete narrative function. However, for Afro pop music videos to
First,the lyric of the Afro pop song needs to be crafted by telling context driven stories.
This will not only increase the communication value of the song, but it will also aid video
directors in achieving an engaging music video that not only promotes the artist’s song,
Furthermore, music video film makers need to look beyond producing videos that project
nothing more than a display of aesthetic images and props. Rather, they should go further
to adopt classical film cinematography techniques – shot types, camera angles, depth of
field – in their visual composition of scenes, in order to make films that uphold standards
of the profession.
In addition, this study opens up conversations regarding the inclusion of visual narratives
in music Nigerian Afro Pop, and so further research in this area is recommended. Also,
studies should not be limited to the Afro Pop genre, but should explore other genres of
44
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47
APPENDICES
Appendix I
48
15 Di’Ja Sowemo
Take Kiss
16 Dj Consequence In a Benz
18 Dj Enimoney P.T.A
19 Dj Exclusive Shawarma
All I see is me
Alhaji
Oyoyo
20 Dj Spinall Ohema
Money
Package
21 DMW Back 2 Back
22 Dotman Akube
Akube (TV version)
Yes Melo
23 D Prince Worldwide
24 Dremo Ojere
1 2 Bang
Fela
25 Dr. Sid The best
Flawless
26 Duncan Mighty Hataz_
27 Emma Nyra For my Matter
28 Falz Soldier
Soft Work
Bahd Baddo Baddest
29 Flavour Mmege Mmege
Mama
Champion
Dance
Gbo Gang Gbo
30 GreyC Chukwuma
Body On Me
31 Harrysong Baba for the Girls
Akagum
32 Humblesmith Osinachi
Change
Jukwese
Na U
33 Ice prince Season
Trillions
34 Iyanya Type of Woman
Heart beat
Okamfo
35 Jesse Jagz Nigerian Gangster
49
Jaga Love
36 Young John Bend Down Select
37 Kcee Tender
Tinana
Idinma
Bureau de Changer
38 Kiss Daniel Upon Me
Sin City
Jombo
Mama
39 Koker Kolewerk
40 Korede Bello Mungo park
One & Only
Romantic
41 Lil Kesh Ishe
Problem Child
Shele Gan Gan
Ibile
Cause Trouble
42 Patoranking No Kissing Baby
Another Level
Money
God Over Everything
43 Phyno FadaFada
Abulo
PinoPino
E Sure for Me
Ezege
44 P-Square Bank Alert
45 Reekado Banks Oluwa Ni
Standard
Problem
46 Reminisce Konsignment
Fantasi
Skilashi
Feego
Asalamalekun
Ibadi
If e no Be God
Angelina
47 Ruggedman Religion
8figures
48 Runtown Tuwo Shinkafa
Lagos to Kampala
Mad Over You
49 Simi Love Don’t Care
50
Outta My Head
50 Sina Rambo Earthquake
51 Solidstar Emergency
Wait
Wait (refix)
52 Sugarboy Hola Hola
Double
Legalize
53 Mavins Jantamanta
54 Maleek Berry Kontrol
55 Mayorkun Eleko
Love you Tire
56 Mr. Eazi Skintight
Bankulize
Hollup
Sample You
Leg Over
57 M.I Everything
Phase II
58 Niniola Shaba
Jigi Jigi
J’ete
Akara Oyibo
59 Nneka Nothing
60 9ice Economy
Abefe
Pariboto
Aunty
ATM
Sugar
61 Olamide The Intro
Owo Blow
Konkobility
Who you Epp
Abule Sowo
I Love Lagos
62 Omawumi Play na Play
63 Omo Akin Twerk For Me
Sisi Maria
Ijo Oloti
64 Orezi Double Your Hustle
Call the Police
Under the Blanket
65 Pepenazi One for the Road
I Ain’t Gat No Time
High Go
51
66 Praiz 69
If I fall
Hot Body
67 Selebobo Tonyor
68 Skales I want You
Temper
Nobody’s Business
Ajaga
Holiday
Fara We Mi
69 Skibii Ah Skibii
Aye Mi
70 Splash Come Over
Obim
71 Tekno Pana
Where
Diana
72 Timaya Money
I Like the Way
Bang Bang
73 Timi Dakolo The Vow
74 Tiwa Savage Get it Together
Bad
If I Start to Talk
Rewind
Standing Ovation
African Waist
75 2baba Oya Come Make We Go
Coded Tinz
Officially Blind
Officially Blind (remix)
Hate What You Do to Me
76 Wande Coal Super Woman
77 Waje Omini Knowest
78 Wizkid Daddy Yo
80 YBNL Lies People Tell
81 Ycee Omo Alhaji
Omo Alhaji (remix)
Panda (cover)
Ahahn
82 Yemi Alade Want You
Tumbum
Koffi Anan
Africa
Kom Kom
Ferrari
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Na Gode (Swahili)
83 Yung6ix Respek on my Name
84 Zoro Ogene
Mabuza Mabuza
Achikolo
Bianca
Appendix II
Darey Art Alade’s YouTube channel homepage.
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