The but (Liadi and Omobowale, 2011) argue that hip

The presence and impact of Diaspora returnees are becoming increasingly visible on the Nigeria music scene. Their growing presence is prompting several debates on the issue of return and how to maximize the potential of the diaspora resource both in Nigeria and beyond. This is inspiring many Nigerians in diaspora to consider putting the skills and  resources gained in their host countries to use in their homeland.Today, there is a rising consumption of music across the globe irrespective of race, social status, and age. In fact, the intercontinental interest and demand for African music is presently encouraging Nigerian artistes to put more effort in doing music although with serious imitation of Western styles. Music, as an art, has deep roots in the cultures and civilizations of various parts of the world, but conceivably the most prominent productions influencing modern-day globalisation come from the Americas and Europe. Although (Powell, 2010) says hip hop originated from Africa and not Jamaica, nor Puerto Rico but (Liadi and Omobowale, 2011) argue that hip hop is a global cultural product that exhibits the globalization propensities of the West. (Bennett, 2001) says that the production of hip hop music actually comes with ease as it requires no training in musical skills. (Forchu, 2009) believes to a large extent that the lack of a formal education in music is undermining the Nigerian music scene and if this continues, the artistes would be found in the middle ground as professionals.The relation of comparative and international music to the study of diaspora and return migration is becoming an issue of developing interest. Consequently, this study contributes immeasurably to the understanding of the crosscurrents in the Nigeria music industry and the relationship between stay-at-home and returnee artistes who are making highly signi?cant contributions to the development of Nigeria music industry, which is beginning to have a universal in?uence.The Nigerian music industry is, however, still poorly structured and this has led to incessant controversies and battles between and among music stars. Consequently production, distribution and marketing of music have been drastically affected (Forchu, 2009). The high prices of contemporary studio equipment have hampered producers and artistes to acquire high-tech musical instruments. This has forced them to settle for lesser, archaic and cheaper musical equipment and facilities. Another major challenge is technical know-how. Not so many of the producers can acquire and operate state-of-the-art musical facilities available in the international market. This in so many ways has negatively affected the quality of music produced in Nigeria (Forchu, 2009).However, a few of Nigerian artistes and producers, who understand the rudiment of the music industry, and have great skills have successfully launched their base and displaced of their contemporaries through the use of cutting-edge high-tech equipment.A longstanding concern about the disproportionate rate of migration between the Global South and the Global North, articulated in the poignant term “brain drain,” has lately spurred researchers, such as ………………to carry out significant study on forms of  brain gain and brain circulation as well as understanding the strategies which the Nigerian government subscribes to in encouraging her citizens abroad  –the skilled professionals, graduates, investors, and entrepreneurs – to return to the country in other to gain from their learned skills, expertise, or prowess. However, (Hayhoe and Zhong 1995) argues that those who refuse to return home are the sole causer of brain drain or “talent loss”.The diasporic return of Nigerian artistes, to the homeland, from different parts of the world is given a human face in this research which studies the drive for return and the experience of reintegration and adjustment through the account of Don Jazzy who is one of the returnee artistes that has captured attention. Given his acquisition of cutting-edge knowledge and skills, as well as his links with other music practitioners from different countries of the world, Don Jazzy is perceived as an exceptional individual whose experience as a returnee artiste could help us understand the challenges and prospects of returning to one’s homeland and the possible outcomes of such return.Don Jazzy was the CEO/President of Mo’Hits Records, one of the most influential record labels in Nigeria between 2005 and 2012. Barely a year after his return to Nigeria, Don Jazzy won several accolades including Nigeria Music Awards (NMA) Producer of the Year. In subsequent years, he went on to win awards in the same category (Producer of the Year) until 2012 when Mo’Hits stopped operation. It is also of note to state that Don Jazzy went on to establish another record label known as Mavin Records.  Today, Don Jazzy’s Mavin Records is the biggest music label in Nigeria and it is home to successful artistes, producers and disc jockey like Tiwa Savage, Dr. Sid, D’ Prince, Reekado Banks, Korede Bello, Di’ja, Jonny Drille, Poe, DNA Twins, Iyanya; Don Jazzy himself, Altims, and Baby Fresh; and DJ Big N, respectively. How and why the diasporic experiences and acquired knowledge of Don Jazzy have influenced his emergence and development on the Nigerian music scene is a major concern.This study presents the outcomes of a qualitative research on the transnational experiences of Don Jazzy and the role he has played on the Nigerian music scene. It also examines the outcomes of his return to the Nigerian popular music industry. The research went beyond economic justification of migration. The research was carried out in a broader frame of social and cultural analysis in a bid to understand the day-to-day experiences of Don Jazzy around issues of his sense of identity as well as his ways of connecting and bringing about changes in the Nigerian music industry. Amidst the current tidal wave of returnees in Nigerian music industry, this research examines some negative cases that have complicated the music scene politics in Nigeria and related problems such as the challenge of readjustment, integration, resentment and controversy from stay-at-home artistes who feel threatened by the arrival of returnees. 1.2 Statement of the ProblemFor a long time, Nigeria, like other third world countries, has suffered severely from brain drain, but lately there has been a shift in this overall trend with many professionals returning to participate in Nigeria’s national development.Still, their stories are yet to be satisfactorily examined. In fact, we have limited ways of understanding of what is involved in the process of leaving and returning, particularly their motivations, experiences, struggles, and possibilities.Several researches have been written on the contributions of returnees to the economic development of their countries of origin through trade, investment, and transfer of knowledge and resources. While there has been a growing literature on diaspora, Nigerian music, social implications of migration, impact of remittances and investment, and even national development such as (Akande 2010); (Arthur, 2010); Ato Quayson & Daswani, 2013); (Bauböck, Faist 2010) and Olaoluwa’s “Inverse Diapora,” the contribution of returnees to the development of Nigeria in the form of technological, professional, and knowledge transfer have largely remained comparatively understudied. The cross-current between returnees and stay-at-homes have also been understudied.This dearth of research on the subject of return migration is mainly due to a lack of good-quality data. This research aims to better take into consideration the challenges linked to the diasporic return of Don Jazzy and it investigates how acquired financial resources, work experience abroad, and investment in the homeland were used to provide an impetus to the local economy of Nigeria and become engines of innovation, employment, and economic growth. This research is, however, necessary because the determinants and impact of the diasporic return of Don Jazzy has so far been relatively under-researched.Based on key informant interviews conducted, data collected detailed information on the conditions of both Don Jazzy before he moved out of the country; his experiences while in the diaspora and his conditions when they returned back to Nigeria from the diaspora.1.3 Research QuestionsThis research aims to understand the impact of the return of Don Jazzy and Tiwa Savage to Nigeria. The point is to answer the following questions:i) how does Don Jazzy re?ect on his overseas experiences?ii) what are the motivations and driving factors that led to the return of Don Jazzy to Nigeria? iii) what are the reintegration experiences of Don Jazzy into the Nigeria music industry? iv) What are the personal contribution of Don Jazzy to the development of popular music in Nigeria?  1.4 Aim and Objective of the StudyTo answer the above questions, a qualitative interview-based research investigation was conducted with Don Jazzy and different documents were consulted in order:i) to understand the reflection of Don Jazzy on his overseas experiencesii) to identify the motivations and driving factors that led to the return of Don Jazzy to Nigeriaiii) to comprehend the narration of Don Jazzy about his reintegration experiences into Nigeria’s music scene.iv) to examine the personal contribution of Don Jazzy to the development of Nigerian popular music. 1.5 Significance of the StudyThis study is germane because of the academic gratifications it certificates.This study is significant in the sense that:i. It enhances our understanding of the issues of return migration and its impacts on the homeland bringing into focus that the effects of migration on development are not constantly positive or negative but, rather, they are subject on a set of factors.ii. Although the government has made great efforts to entice overseas Nigerian professionals to return, less attention has been paid to the outcomes of the return migration. This study shall be useful to relevant bodies and agencies to realize the development potentials of returnees. iii. It will aid governments to improve diaspora strategy or series of policy initiatives aimed at developing and managing relationships with a diaspora to create networks that can be beneficial to the homeland.iv. Prospective returnees would be motivated to invest in the homeland while in diaspora thereby upgrading remittance and resources transfers for development and for their personal use.v. According to Mills (2000:5), “the individual can understand his own experience and gauge his own fate only by locating himself within his period, that he can know his own chances in life only by becoming aware of those of all individuals in his circumstances”. In view of the above assertion, those who are contemplating about whether to return or not, this research might provide them with some valuable details on the conditions of Nigeria’s music industry.vi. This study will also fill the gaps in existing knowledge and resolve current controversies.1.6 Scope of the StudyThis study shall focus on the lived experiences of Don Jazzy, his cross-border migration, return to Nigeria, and his successful emergence on the Nigerian music scene. It shall examine the reflection of Don Jazzy on his overseas experiences, the motivations and driving factors that led to his return to Nigeria, his reintegration experiences into the Nigerian music scene and the level of change that his diasporic return has brought to Nigeria’s music culture. A phenomenological study of the above issues shall be conducted on the basis of data gathered from participants during the fieldwork. The experiences of other returnee music practitioners in Nigeria will not be studied owing to the short period of time available to conduct this research. More so, the and the voices of stay-at-home artistes shall not be covered in this research as the account of the key informant will be enough to understand the lived experiences of Don Jazzy. Data was collected between the period of July 25th to October 29th, 2017.   1.7 Area of StudyIn terms of physical coverage, this study is limited to Lagos which is the major entertainment hub of Nigeria. Lagos is famous throughout Arica for its music scene. Lagos has vibrant nightlife and has given birth to a variety of styles such as Nigerian hip hop, highlife, fuji, juju and Afrobeat. Lagos is also the centre for the Nigeria movie industry, often referred to as ‘Nollywood’. Many top practitioners in the Nigeria music industry work and live in Lagos which is also the location of Supreme Mavin Dynasty, the official workplace of Don Jazzy. In fact, different international artistes have performed in Lagos. In 1970, James Brown performed in Lagos and in 1973, Paul McCartney recorded his fifth post-Beatles album, Band on the Run, in a studio owned by EMI in Lagos (Mark Lewisohn (2001). Other foreign musicians who have performed in Lagos include: Akon, 50 Cent, Jarule, Usher, T-Pain, JayZ, Beyonce, Ciara, Keri Hilson, Boyz II Men, Shakira, John Legend, R Kelly, Sean Paul and Snoop Dogg, among others (Williams, Lizzie; Shenley, Mark (2012).The media has also been functional in the cause of reporting entertainment related issues and happenings.  Consequently, this study also consulted media text in form of news reports, articles, and documentaries that are related to the discourse of Don Jazzy’s return and emergence on the Nigeria music scene. 1.8 Overview of Remaining ChaptersThis research work is comprised of five chapters. This chapter introduces the research including background, statement of the problem, research questions, aim and objectives, signi?cance of the study, scope of the study, and the research study area.Chapter 2 reviews the literature on music, diaspora, and transnational migration. It contests the economic and political approaches to migration and theorizes migration under social and cultural frameworks. It argues that the complexity and dynamics of transnational academic mobility cannot be captured by the debates regarding brain drain, brain gain, or brain circulation. The rest of Chapter 2 is dedicated to discussing the theoretical framework of this research.  Chapter 3 discusses the method of data gathering and the research methodology. It also offers the limitations of the research work.Chapter 4 present the key ?ndings of the study: power relations, structural constraints and challenges of reintegration, knowledge transfer, and the motivations and driving factors that shaped Don Jazzy’s decisions to return to Nigeria. It contends that the choice to return is often motivated by Nigeria’s rapid economic and social development, and better career opportunities provided by the improved system. It argues that the act of returning is a complex one that comprises both individual choices and negotiations of other conditions and areas—household, workplace, and the nation-state.Chapter 5 concludes this study with summary of the study, the implications of the research and recommendations for further study.1.9 Operational Definition of Terms

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