非洲節奏正處於危險之中，每個人都在逃避這項總稱

當這場運動成為「非洲節奏走向世界」時，許多人帶著這把傘奔跑，並用它來打開和進一步拓展他們音樂的界限。

Afrobeats, a brainchild of Nigeria, has enjoyed immense global success. When the movement took on the tagline "Afrobeats to the world," many artists embraced the umbrella term and used it to expand the horizons of their music.

非洲節奏是尼日利亞的創意，在全球取得了巨大的成功。當這場運動的口號是「非洲節奏走向世界」時，許多藝術家接受了這個總括術語，並用它來拓展他們的音樂視野。

Being an Afrobeats artist became highly desirable as the world clamored for the sound. However, the tide seems to be turning, with Afrobeats facing a threat and artists distancing themselves from the umbrella term.

隨著世界對非洲音樂的渴求，成為非洲節奏藝術家變得非常令人嚮往。然而，潮流似乎正在轉變，非洲節奏面臨威脅，藝術家們也遠離了這一總稱。

Several artists have risen to prominence, amassing wealth and opportunities through their association with Afrobeats, only to later downplay or dismiss the genre.

一些藝術家已經聲名鵲起，透過與非洲節奏的聯繫累積了財富和機會，但後來卻淡化或忽視了這一流派。

Burna Boy has asserted that his music falls under the category of Afro-fusion, not Afrobeats (despite the definition of Afrobeats itself being Afro-fusion), while Wizkid has expressed his desire to no longer be labeled an Afrobeats artist. Tems, too, has stated that she does not identify as an Afrobeats artist, and many more have made similar statements.

Burna Boy 聲稱他的音樂屬於非洲融合音樂，而不是非洲節奏（儘管非洲節奏本身的定義是非洲融合），而 Wizkid 則表示希望不再被貼上非洲節奏藝術家的標籤。特姆斯也表示，她並不認為自己是非洲節奏藝術家，還有更多人發表了類似的聲明。

Most recently, Flavour, in an interview with Adesope Shopsy doo, stated that he was unperturbed by not being included in discussions about top Afrobeats players because he considered himself an African artist, not an Afrobeats artist.

最近，Flavour 在接受 Adesope Shopsy doo 採訪時表示，他對於沒有被納入有關頂級非洲節奏歌手的討論中並不感到不安，因為他認為自己是非洲藝術家，而不是非洲節奏藝術家。

He went on to say that not everyone had to fit into the Afrobeats narrative and that he was content with being an African artist, adding that any conversation about African music had to include Flavour.

他接著說，並不是每個人都必須融入非洲節奏敘事，他對成為非洲藝術家感到滿意，並補充說，任何有關非洲音樂的對話都必須包括風味。

Afrobeats is African Music, but not all African music is Afrobeats

Afrobeats 是非洲音樂，但並非所有非洲音樂都是 Afrobeats

This statement is indeed controversial and a discussion that the industry may not be fully prepared for. However, I find myself agreeing with Flavour's point that Afrobeats is not synonymous with African music. Not all music coming out of Nigeria can be classified as Afrobeats.

這種說法確實是有爭議的，也是業界可能還沒做好充分準備的討論。然而，我發現自己同意弗萊弗的觀點，即非洲節奏並不是非洲音樂的代名詞。並非所有來自尼日利亞的音樂都可以歸類為非洲節奏。

There are artists making R&B, Fuji, Highlife, and other genres. For example, Johnny Drille's music is distinct from Asake's. Ogbonjayar's sound differs from Seyi Vibez's.

有創作 R&B、Fuji、Highlife 和其他類型的藝術家。例如，Johnny Drille 的音樂與 Asake 的音樂不同。 Ogbonjayar 的聲音與 Seyi Vibez 的聲音不同。

The crux of the issue lies in the lack of a clear definition for Afrobeats. It is essentially a fusion of sounds that incorporates African elements. It feels more like a culture or a movement than a specific genre. This is why the pioneers of the sound often attempt to further define their music.

問題的關鍵在於非洲節奏缺乏明確的定義。它本質上是融合了非洲元素的聲音。它感覺更像是一種文化或一種運動，而不是一種特定的流派。這就是為什麼聲音的先驅者經常嘗試進一步定義他們的音樂。

Another point of contention is Flavour's need to recognize that Afrobeats is a type of African music. The biggest Afrobeats stars are still African artists, and their music also contains fundamental elements of African music.

另一個爭論點是 Flavour 需要認識到非洲節奏是非洲音樂的一種。最大的非洲節奏明星仍然是非洲藝術家，他們的音樂也包含非洲音樂的基本元素。

Asake's sound heavily relies on Fuji music, Rema's music is largely influenced by Benin culture and the recent street tempo and sound, and Apala music is making a surprising comeback in the mainstream.

Asake 的聲音很大程度上依賴 Fuji 音樂，Rema 的音樂很大程度上受到貝南文化和最近街頭節奏和聲音的影響，而 Apala 音樂正在主流中令人驚訝地捲土重來。

Afrobeats, by definition, is a fusion of sounds with African elements, which allows the genre to claim to be African music and vice versa.

根據定義，非洲節奏是聲音與非洲元素的融合，這使得該流派可以自稱是非洲音樂，反之亦然。

However, the context in which Flavour used the term "African music" is valid. When considering artists like Fally Ipupa, Diamond Platinumz, Sarkodie, Sauti Sol, Angelique Kidjo, and others, they come to mind when discussing African artists.

然而，弗萊弗使用“非洲音樂”一詞的上下文是有效的。當談到 Fally Ipupa、Diamond Platinumz、Sarkodie、Sauti Sol、Angelique Kidjo 等藝術家時，我們在討論非洲藝術家時就會想到他們。

Their sound is distinct and differs from that of mainstream Afrobeats artists. In this context, a conversation about African music cannot exclude Flavour. Similarly, in Afrobeats, you cannot discuss the genre without mentioning Flavour.

他們的聲音與主流非洲節奏藝術家的聲音截然不同。在這種背景下，談論非洲音樂不能排除風味。同樣，在非洲節奏中，討論流派就不能不提到風味。

What is Afrobeats? It is an umbrella term used to describe popular music from West Africa and the diaspora that initially developed in Nigeria, then Ghana and the UK in the 2000s and 2010s.

什麼是非洲節奏？它是一個總稱，用於描述來自西非和散居國外的流行音樂，最初在尼日利亞發展起來，然後在 2000 年代和 2010 年代在加納和英國發展。

Afrobeats is less of a style per se and more of a descriptor for the fusion of sounds flowing majorly out of Nigeria. Genres such as hiplife, jùjú music, highlife, azonto music, and Naija beats, among others, were amalgamated under the “Afrobeats” umbrella.

非洲節奏本身並不是一種風格，而是主要來自尼日利亞的聲音融合的描述。嘻哈生活、雜曲音樂、高級生活、azonto 音樂和 Naija 節拍等流派都被合併在「非洲節拍」的保護傘下。

African music is essentially music from Africa. The big question is who is wrong? I don't think anyone is. Better education will do us a favour in these tough times. Also, the definition and what we decide to call Afrobeats needs to change. Really soon too.

非洲音樂本質上是來自非洲的音樂。最大的問題是誰錯了？我不認為有人是。更好的教育將在這些困難時期為我們帶來幫助。此外，非洲節奏的定義和我們決定的稱呼也需要改變。確實也快了。