非洲节奏正处于危险之中，每个人都在逃避这一总称

当这场运动成为“非洲节奏走向世界”时，许多人带着这把伞奔跑，并用它来打开和进一步拓展他们音乐的界限。

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.

非洲节奏是尼日利亚的创意，在全球取得了巨大的成功。当这场运动的口号是“非洲节奏走向世界”时，许多艺术家接受了这个总括术语，并用它来拓展他们的音乐视野。

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.

随着世界对非洲音乐的渴求，成为一名非洲节奏艺术家变得非常令人向往。然而，潮流似乎正在发生转变，非洲节奏面临威胁，艺术家们也远离了这一总称。

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

一些艺术家已经声名鹊起，通过与非洲节奏的联系积累了财富和机会，但后来却淡化或忽视了这一流派。

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 声称他的音乐属于非洲融合音乐，而不是非洲节奏（尽管非洲节奏本身的定义就是非洲融合），而 Wizkid 则表示希望不再被贴上非洲节奏艺术家的标签。特姆斯也表示，她并不认为自己是一名非洲节奏艺术家，而且还有更多人发表了类似的声明。

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 采访时表示，他对于没有被纳入有关顶级非洲节奏歌手的讨论中并不感到不安，因为他认为自己是非洲艺术家，而不是非洲节奏艺术家。

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.

他接着说，并不是每个人都必须融入非洲节奏叙事，他对成为一名非洲艺术家感到满意，并补充说，任何有关非洲音乐的对话都必须包括风味。

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

Afrobeats 是非洲音乐，但并非所有非洲音乐都是 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.

这种说法确实是有争议的，也是业界可能还没有做好充分准备的讨论。然而，我发现自己同意弗莱弗的观点，即非洲节奏并不是非洲音乐的代名词。并非所有来自尼日利亚的音乐都可以归类为非洲节奏。

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.

有创作 R&B、Fuji、Highlife 和其他流派的艺术家。例如，Johnny Drille 的音乐与 Asake 的音乐不同。 Ogbonjayar 的声音与 Seyi Vibez 的声音不同。

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.

问题的关键在于非洲节奏缺乏明确的定义。它本质上是融合了非洲元素的声音。它感觉更像是一种文化或一种运动，而不是一种特定的流派。这就是为什么声音的先驱者经常尝试进一步定义他们的音乐。

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.

另一个争论点是 Flavour 需要认识到非洲节奏是非洲音乐的一种。最大的非洲节奏明星仍然是非洲艺术家，他们的音乐也包含非洲音乐的基本元素。

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 的声音很大程度上依赖于 Fuji 音乐，Rema 的音乐很大程度上受到贝宁文化和最近街头节奏和声音的影响，而 Apala 音乐正在主流中令人惊讶地卷土重来。

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

根据定义，非洲节奏是声音与非洲元素的融合，这使得该流派可以自称是非洲音乐，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，弗莱弗使用“非洲音乐”一词的上下文是有效的。当谈到 Fally Ipupa、Diamond Platinumz、Sarkodie、Sauti Sol、Angelique Kidjo 等艺术家时，我们在讨论非洲艺术家时就会想到他们。

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.

他们的声音与主流非洲节奏艺术家的声音截然不同。在这种背景下，谈论非洲音乐不能排除风味。同样，在非洲节奏中，讨论流派就不能不提到风味。

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.

什么是非洲节奏？它是一个总称，用于描述来自西非和散居国外的流行音乐，最初在尼日利亚发展起来，然后在 2000 年代和 2010 年代在加纳和英国发展。

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.

非洲节奏本身并不是一种风格，而是主要来自尼日利亚的声音融合的描述。嘻哈生活、杂曲音乐、高级生活、azonto 音乐和 Naija 节拍等流派都被合并在“非洲节拍”的保护伞下。

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.

非洲音乐本质上是来自非洲的音乐。最大的问题是谁错了？我不认为有人是。更好的教育将在这些困难时期为我们带来帮助。此外，非洲节奏的定义和我们决定的称呼也需要改变。确实也快了。