Upsetting the gender imbalance in African popular music: The example of Diepreye Osi of the Ịjọ (Ijaw) of Nigeria

IF 1 4区 文学 Q3 COMMUNICATION
Imomotimi Armstrong
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引用次数: 0

Abstract

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.
打破非洲流行音乐中的性别失衡:以尼日利亚Ịjọ (Ijaw)的Diepreye Osi为例
一段时间以来,学者们一直在讨论非洲流行音乐中的男性霸权,以及一些女性表演者如何抵制既定的现状。在加入本文的讨论中,我将重点放在Diepreye Osi的owigiri音乐上,她是尼日利亚尼日尔三角洲地区Ịjọ的一位女乐队领队。特别关注Ịjọ社区中最重要的新传统音乐乐队的部门,包括乐器,舞蹈和歌唱,我认为Diepreye在她的音乐合奏中反对父权制。该研究的数据收集自对艺术家和非艺术家的非结构化访谈,以及对现场表演的观察。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
1.80
自引率
25.00%
发文量
21
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