Manuscript Information Authors

[1]	Daouda Ngom, Department of Linguistics and Sciences of Language, Faculty of Arts and Social Sciences, University Cheikh Anta Diopof, Dakar, Senegal.

Abstract

This article aims to inventory a number of aliases or "otherwise called or known as" of Senegalese rappers, to analyze, to decrypt, to highlight their informative nature and to release their semantic content in relation to social considerations. The article clarifies some aspects of anthroponyms in the Senegalese rappological universe, newly integrated into the social communication of the population. Here, communication is interpreted from the oral discursive angle in concrete circumstances. For this reason, the study proposes a deciphering and interpretative approach so as to bring out the semantic content and communicative value that hide from such names in connection to the Senegalese social and communicational realities. It also uses a pragmatic view to well reinforce the analysis by bringing out the implicit and implied informative character of the Senegalese rap music artists’ aliases. The article tries to show that the anthroponyms of the Senegalese ‘rappology’ participate first of all in the process of knowing and identifying the rapper. As a result, choosing a nickname or other name different from the one in the civil register must be sadistic to use their jargon. In other words, the alias name must be, from the semantic point of view, shocking, and from the social point of view disturbing and controversial source, to draw the attention of each other and then to convey a message. Disobliging nicknames are the first beginning of revolt and protest. They are the first milestone to prepare the ground for his refusal to accept the vision of political authority. The method used for the interpretation of the collected data focuses on the communicational approach based on logos, ethos and pathos to discover the identification and construction of these communicational features of Senegalese rap music artists. This method helps understanding that the rapper's communication approach has its forms and practices which, requires a careful study, starting from the way of dressing to the language performance. And the conclusion to draw from this analysis is that in the anthropological terminology of Senegalese Hip Hop, there are pathetic nicknames because of their semantic content and which participate to making easier the delivering of rappers’ messages to the population in general to rap music lovers in particular.

Keywords

Rap, Hip Hop, Communication, Alias, Interpretative Analysis, Senegalese Rapper

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