Young rappers use a secret language or cryptolect to shield themselves from public criticism but share persuading hidden messages that influence their communities. Some of these young musicians are Nigerian University students and their special use of language gives birth to this type of hidden language. In this article, I highlighted the cryptolect or Cant used by Rapcultureafrica, a team of both young students and ex-students of the University of Calabar and their cohorts. The cryptolect is making its way into everyday speech especially English and Pidgin as the rappers use it in their rhythmic music. Many people hear these Cants in rap and feel that it allows them to reconnect with their cultural identity in the postcolonial period. It is for this reason, I write this research paper to decrypt to the world the exact messages these rappers are presenting in their music. In this report, I will apply a critical lens using the theoretical framework called Rappers Cryptolect Theory. I will rely on the help of the informants and solicit their help in deciphering these messages for this aspect of the crytptolectics in order to make an entry into Linguistics and unconventional English lexicons with the aim to contribute towards establishing crytptolectics in Musicolinguistics as a part of the field of study.
 I coined the word to refer to a sub-branch of linguistics that deals with cryptolect.
Keywords: Musicolinguistics, Nigeria Hip-Hop Music (NHHM), cryptolect, cryptolectics, Rapcultureafrica.
Abdulkareem, E. (2004). Jaga Jaga [Recorded by Kennis Music]. Lagos, Lagos, Nigeria.
Agbo, M. (2009, December 20). Language Alternation Strategies in Nigerian Hip Hop and Rap Texts. Language in India, 1, 34-6. Retrieved from www.languageinindia.com
Antović, M. (2005). Musicolinguistics – From A Neologism To An Acknowledged Field. Facta Universitatis, 3(2), 243 – 257.
Apphiaanna, D. (2014, July 27). Don Jazzy Explains The Meaning Of ‘Eminado’. Retrieved September 08, 2017, from Stargist: http://stargist.com/entertainment/don-jazzy-explains-the-meaning-of-eminado/
Babalola E. T. & Taiwo R. (2017, January 30). Code-Switching in Contemporary Nigerian Hip-Pop Music. Retrieved September 01, 2017, from Researchgate: www.researchgate.net/publication/255582876
Bakker P. & Matras Y. (2013). Introduction: What Are Contact Languages? In B. P. Y. (Ed.), Contact Languages: A Comprehensive Guide (p. 2). Boston/Berlin: Walter de Gruyter, Inc.
Berchoud, M. (2011). Le vocabulaire et ses pièges. Paris: L’Archipoche.
Boise, S. D. (2015). Men, Masculinity, Music and Emotions. London: Palgrave Macmillan. Doi: 10.1057/9781137436092
China, A. (2006). Letter to Mr. President [Recorded by Super Difa]. Lagos, Lagos, Nigeria.
Coal, W. (2016). Iskaba [Recorded by Black Diamond Entertainment]. Lagos, Lagos, Nigeria.
Cook, N. (1998). Analysing Musical Multimedia. In D. Neumeyer, Meaning and Interpretation of Music in Cinema (p. 14). Bloomington & Indianapolis: Indiana University Press.
Décharné, M. (2016). Vulgar Tongues: An Alternative of English Slang. London: Serpent’s Tail.
DJ BB. (2017, Nov. 13). Check Out The Meaning of “Ske Ske” Tiwa Savage Mentioned in her Song “Malo” ft. Wizkid. Retrieved March 15, 2018, from ekomusic: http://www.ekomusic.com.ng/2017/11/03/check-out-the-meaning-of-ske-ske-tiwa-savage-mentioned-in-her-song-malo-ft-wizkid/
Druide. (2016). Antidote 9 Bilingual. Montréal: Druide.
Eble, C. (1996). Slang and Sociability: In-Group Language among College Students (2nd ed.). Chapet Hill & London: The University of North Carolina Press.
Gboyi, M. T. (2016). Languague, Identity, And Urban Youth Subculture: Nigerian Hip Pop Music As An Exemplar. International Pragmatics Association, 26(2), 171-195.
Green, J. (2004). Language: Polari. Critical Quarterly, 39(1). doi:https://doi.org/10.1111/1467-8705-0083
Idibia, 2. (2004). African Queen [Recorded by Kennis Music]. Lagos, Lagos, Nigeria.
Kamien, R., & Kamien, A. (2015). Music An Appreciation (8 ed.). New York: McGraw Hill Education.
Keith, C., & Andrew, H. C. (Eds.). (2013). Speaking of Music: Addressing the Sonorous. New York: Fordham University Press.
Kimbal, C. (2013). Art Song: Linking Poetry and Music. Milwauke: Hal Leonard Corporation.
Kuti, F. (1976). Zombie Follow Follow [Recorded by Coconut Records]. Lagos, Lagos, Nigeria.
Lang, O. (2016, March 18). Meet the Syrian Refugee Rapper. Retrieved October 28, 2017, from BBC World Service: www.bbc.com/news/av/world-middle-east-35834169/meet-the-syrian-refugee-rapper
Lerer, S. (2007). Inventing English: A Portable History of The Language. New York: Columbia University Press.
Liadi, O. F. (2012). Multilingualism and Consumption in Nigeria: Accounting for the Local Acceptance of a Global Phenomenon. Africa Spectrum, 47(1), 3-19.
McWhorter, J. (1998). Word on the Street: Debunking the Myth of “Pure” Standard English. Basic Books Group. doi:daba7fac-562a-4c74-93ad-a74a7d0406b5
Michael Ajereh, T. S. (2014). Dorobucci [Recorded by Mavins Records]. Lagos, Lagos, Nigeria.
N’abania, F. (2013). Ada Ada [Recorded by 2nite Entertainment]. Enugu, Enugu, Nigeria.
Nava, A. (2017). In Search of Soul: Hip-Pop, Literature And Religion. California: University of California Press.
Olamide, A. (2017). Wo [Recorded by Young John]. Lagos, Lagos, Nigeria.
Partridge, E. (1933). Slang Today and Yesterday. In D. T. Terry, The Concise New Partridge Dictionary of Slang and Unconventional English (p. xv). New York: Routledge Taylor & Francis Group.
Ray, A., Douglas, C., Nancy, H., & Jeffrey, T. (2014). Music: Its Language, History, And Culture (4 ed.). New York: Brooklyn College of the City University of New York. Retrieved from http://www.music1300.info/reader.
Rose, T. (2008). The Hip Pop Wars: What We Talk About When We Talk About Hip Hop—and Why It Matters. New York: Basic Books.
Salewicz, C. (2012). Bob Marley: The Untold Story. London: Harper Nonfiction.
Sholola, D. (2014, September 21). What dorobucci really means-Dr Sid. Retrieved September 08, 2017, from Vanguard Nigeria: www.vanguardngr.com/2014/09/dorobucci-really-mean-dr-sid/
Soni, V. (2014). Natural Mystics: The Prophetic Lives of Bob Marley and Nusrat Fateh Ali Khan. Los Angeles: Figueroa Press.
Tilles, G., & Gründ, F. (2013). Les cheveux, signe et signifiant. Paris: Springer-Verlang.
Tiwatope Savage, M. A. (2013). Eminado [Recorded by Marvins Records]. Lagos, Lagos, Nigeria.
Upton C. & Kretzschmar W. A. Jr. (2017). The Routledge Dictionary of Pronunciation for Current English. New York/London: Routledge Taylor & Francis.
Velupillai, V. (2015). Pidgins, Creole and Mixed Languages: An Introduction. Amsterdam/Philadelphia: John Benjamins Publishing Company.
Vernon, J. (2018). Hip Hop, Hegel, and the Art of Emancipation: Let’s Get Free. Toronto: Palgrave Macmillan. doi:https://doi.org/10.1007/978-3-319-91304-9
Winford, D. (2013). Social Factors in Contact Languages. In P. B. Matras (Ed.), Contact Languages: A Cmprehensive Guide (p. 363). Boston/Berlin: Walter de Gruyter, Inc.