Upsetting the gender imbalance in African popular music
The example of Diepreye Osi of the Ịjọ (Ijaw) of Nigeria
Bibliographic Data
| ID | 15554196 |
|---|---|
| Authors | Imomotimi Armstrong (0000-0002-2871-0683, United Nations Children's Fund Niger, corresponding author) |
| Year | 2023 |
| Volume | 16 |
| Issue | 1 |
| Pages | 73-87 |
| Publication date | 2023-09-15 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Journal of African Media Studies (JOURNAL) |
| Journal identifiers | ISSN: 1751-7974 • E-ISSN: 2040-199X |
| Publisher | Intellect (PUBLISHER • GB) |
| DOI | 10.1386/jams_00104_1 |
| OpenAlex | W4386775527 |
| Language | EN |
| Citations received | 1 |
| References cited | 17 |
For sometime now, there has been a conversation among scholars about male hegemony in African popular music and how some women performers resist the established status quo. In joining the discourse in this article, I focus on the owigiri music of Diepreye Osi, a female bandleader among the Ịjọ of Nigeria’s Niger Delta region. With particular attention to the departments in the bands of that premier neo-traditional music in the Ịjọ community, including instrumentation, dancing and singing, I argue that Diepreye contests patriarchy in her musical ensemble. Data for the study was gathered from unstructured interviews of artists and non-artists, and observation of live performances
Acoustics · Art · Conversation · Hegemony · Media studies · Musical · Patriarchy · Political science · Popular music · Singing · Sociology · Status quo · Visual arts · Communication · Gender Studies · Law · Music History and Culture · Race, History, and American Society · Theater, Performance, and Music History
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| Unique citing works | 1 |
|---|---|
| Citations per year | 0,5 |
| Citation span | 2024 - 2024 (1) |
| Citation velocity | recent |
| Highly cited | No |
| Citation types | Neutral: 1 |