G Osiebe
Biographic Data
| ID | 38135 |
|---|---|
| NAME | G Osiebe |
| GIVEN NAMES | G |
| FAMILY NAME | Osiebe |
| SIGNATURE | OSIEBE G |
| AFFILIATIONS | Duy Tan University |
| ORCID | 0000-0002-3110-3753 |
| VERIFIED | Yes |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 17 |
| AUTHOR COUNT | 8 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2016 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 3 |
Entrepreneurs in Brown Skins? Performing Matter into Contemporary Black Lives
Oliver Twist, popular music and electoral nostalgia in Nigeria
Electoral nostalgia involves a return in thought to an electoral period or to a deed from an electoral period in one’s past. This essay is concerned with the electoral engagements of Oladapo Daniel Oyebanjo, better known by his moniker D’banj, as these relate to the 2011 presidential election bid of Nigeria’s erstwhile president Goodluck Jonathan. The essay assesses the role of D’banj as campaign songwriter and observes his immediate post-2011-el…
The alternative theory of state-minded protest texts in the music of democratic Nigeria
This paper centres on an alternative discourse of popular music culture in re-democratized Nigeria. Whereas much work has been done on state-minded protest music in Nigeria, studies have been reticent in appreciating the works of Fela's son, Femi; particularly within a framework of re-democratized Nigeria's equivalent of Fela's works which constituted a major alternative voice through military-ruled Nigeria. The paper is an attempt to make up thi…
The Ghetto President and Presidential Challenger in Uganda
The political history of post-colonial Uganda is about as fascinating as that of any post-colonial state. The styles of key political figures, including Milton Obote and Idi Amin Dada, who have had the privilege of leading the country, are central to this fascination. Yet, since becoming Uganda's leader in 1986, President Yoweri Museveni appears to have outdone his predecessors so much so that an entire generation cares little of the country's hi…
Methods in performing Fela in contemporary Afrobeats, 2009-2019
In the 1982 documentary Music is the Weapon, Fela Anikulapo Kuti, arguably the inventor of Afrobeat, pronounced that: 'My name is Anikulapo: I have death in my pouch. I can't die. They can't kill me!' Fela passed on in 1997, yet his revolutionary practice, in message and in musical form, means that he lives on in the imagination. Over the last decade, Afrobeat has transformed in both terminology and practice. For some, Afrobeat has morphed into a…
Valences of electoral consciousness in the music of democratic Nigeria
This paper attempts a contribution to the theorisation of electoral politics and culture. It is concerned with the cycle of electoral consciousness that has transpired in the Nigerian popular music scene between 1999 and 2016. Electoral consciousness is the effect of an alteration in people’s political mindfulness during electoral campaign seasons, an effect which manifests in the works/arts of the people. By focusing on some works of five Nigeri…
Electoral Music Reception
Audiences in Africa are a grossly under-researched demographic. This paper centres on the comparative analysis of two electoral audience-based surveys conducted between April and September 2012 in the Nigerian states of Bayelsa and Lagos; following the April 2011 presidential election in Nigeria that ushered the erstwhile President Goodluck Jonathan into power. The surveys sought to know the electorates’ reaction to the electoral campaign songs t…
The opportunism of political music culture in democratic Nigeria
This paper attempts an intervention in contemporary popular music classification. It argues that popular musicians do not only choose the titles to their works, but go further to define the genres of these works. The dynamic at play is such that most popular musicians claim to produce works of different and new genres with each new work they create. By engaging with the works of a selection of Nigerian popular musicians, the paper shows a trend o…
The Ghetto President and Presidential Challenger in Uganda
The political history of post-colonial Uganda is about as fascinating as that of any post-colonial state. The styles of key political figures, including Milton Obote and Idi Amin Dada, who have had the privilege of leading the country, are central to this fascination. Yet, since becoming Uganda's leader in 1986, President Yoweri Museveni appears to have outdone his predecessors so much so that an entire generation cares little of the country's hi…
The opportunism of political music culture in democratic Nigeria
This paper attempts an intervention in contemporary popular music classification. It argues that popular musicians do not only choose the titles to their works, but go further to define the genres of these works. The dynamic at play is such that most popular musicians claim to produce works of different and new genres with each new work they create. By engaging with the works of a selection of Nigerian popular musicians, the paper shows a trend o…
Methods in performing Fela in contemporary Afrobeats, 2009-2019
In the 1982 documentary Music is the Weapon, Fela Anikulapo Kuti, arguably the inventor of Afrobeat, pronounced that: 'My name is Anikulapo: I have death in my pouch. I can't die. They can't kill me!' Fela passed on in 1997, yet his revolutionary practice, in message and in musical form, means that he lives on in the imagination. Over the last decade, Afrobeat has transformed in both terminology and practice. For some, Afrobeat has morphed into a…
Electoral Music Reception
Audiences in Africa are a grossly under-researched demographic. This paper centres on the comparative analysis of two electoral audience-based surveys conducted between April and September 2012 in the Nigerian states of Bayelsa and Lagos; following the April 2011 presidential election in Nigeria that ushered the erstwhile President Goodluck Jonathan into power. The surveys sought to know the electorates’ reaction to the electoral campaign songs t…
The alternative theory of state-minded protest texts in the music of democratic Nigeria
This paper centres on an alternative discourse of popular music culture in re-democratized Nigeria. Whereas much work has been done on state-minded protest music in Nigeria, studies have been reticent in appreciating the works of Fela's son, Femi; particularly within a framework of re-democratized Nigeria's equivalent of Fela's works which constituted a major alternative voice through military-ruled Nigeria. The paper is an attempt to make up thi…
The opportunism of political music culture in democratic Nigeria
This paper attempts an intervention in contemporary popular music classification. It argues that popular musicians do not only choose the titles to their works, but go further to define the genres of these works. The dynamic at play is such that most popular musicians claim to produce works of different and new genres with each new work they create. By engaging with the works of a selection of Nigerian popular musicians, the paper shows a trend o…
Electoral Music Reception
Audiences in Africa are a grossly under-researched demographic. This paper centres on the comparative analysis of two electoral audience-based surveys conducted between April and September 2012 in the Nigerian states of Bayelsa and Lagos; following the April 2011 presidential election in Nigeria that ushered the erstwhile President Goodluck Jonathan into power. The surveys sought to know the electorates’ reaction to the electoral campaign songs t…
Valences of electoral consciousness in the music of democratic Nigeria
This paper attempts a contribution to the theorisation of electoral politics and culture. It is concerned with the cycle of electoral consciousness that has transpired in the Nigerian popular music scene between 1999 and 2016. Electoral consciousness is the effect of an alteration in people’s political mindfulness during electoral campaign seasons, an effect which manifests in the works/arts of the people. By focusing on some works of five Nigeri…
The alternative theory of state-minded protest texts in the music of democratic Nigeria
This paper centres on an alternative discourse of popular music culture in re-democratized Nigeria. Whereas much work has been done on state-minded protest music in Nigeria, studies have been reticent in appreciating the works of Fela's son, Femi; particularly within a framework of re-democratized Nigeria's equivalent of Fela's works which constituted a major alternative voice through military-ruled Nigeria. The paper is an attempt to make up thi…
The Ghetto President and Presidential Challenger in Uganda
The political history of post-colonial Uganda is about as fascinating as that of any post-colonial state. The styles of key political figures, including Milton Obote and Idi Amin Dada, who have had the privilege of leading the country, are central to this fascination. Yet, since becoming Uganda's leader in 1986, President Yoweri Museveni appears to have outdone his predecessors so much so that an entire generation cares little of the country's hi…
Methods in performing Fela in contemporary Afrobeats, 2009-2019
In the 1982 documentary Music is the Weapon, Fela Anikulapo Kuti, arguably the inventor of Afrobeat, pronounced that: 'My name is Anikulapo: I have death in my pouch. I can't die. They can't kill me!' Fela passed on in 1997, yet his revolutionary practice, in message and in musical form, means that he lives on in the imagination. Over the last decade, Afrobeat has transformed in both terminology and practice. For some, Afrobeat has morphed into a…
Entrepreneurs in Brown Skins? Performing Matter into Contemporary Black Lives
Oliver Twist, popular music and electoral nostalgia in Nigeria
Electoral nostalgia involves a return in thought to an electoral period or to a deed from an electoral period in one’s past. This essay is concerned with the electoral engagements of Oladapo Daniel Oyebanjo, better known by his moniker D’banj, as these relate to the 2011 presidential election bid of Nigeria’s erstwhile president Goodluck Jonathan. The essay assesses the role of D’banj as campaign songwriter and observes his immediate post-2011-el…
Political science (8 works) · Sociology (8 works) · Law (7 works) · Music History and Culture (7 works) · Politics (7 works) · Art (5 works) · Law (5 works) · Literature (4 works) · Media studies (4 works) · Aesthetics (3 works)