{"title":"Upsetting the gender imbalance in African popular music: The example of Diepreye Osi of the Ịjọ (Ijaw) of Nigeria","authors":"Imomotimi Armstrong","doi":"10.1386/jams_00104_1","DOIUrl":null,"url":null,"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.","PeriodicalId":43702,"journal":{"name":"Journal of African Media Studies","volume":"39 1","pages":"0"},"PeriodicalIF":1.0000,"publicationDate":"2023-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of African Media Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1386/jams_00104_1","RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q3","JCRName":"COMMUNICATION","Score":null,"Total":0}
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.