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Foregrounding Female Agency in the Dance Culture of Nigeria
WHAT I DO WHEN I DANCE: FOREGROUNDING FEMALE AGENCY IN THE DANCE CULTURE OF NIGERIA Oladoyin Abiona A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2021 Committee: Angela Nelson, Advisor Jeremy Wallach Rahdika Gajjala © 2021 Oladoyin Abiona All Rights Reserved iii ABSTRACT Angela Nelson, Advisor Scholarship on female representations in hip hop has been predominantly premised on the sexualization of the female body. By focusing mainly on this singular aspect of the genre, we reduce the whole essence of womanhood in the industry to such interpretations. The limited scope of such discussions deprives the women of opportunities to tell their own stories of what they do when they dance. Seeing the cultural significance of dance as a form of popular culture in the Nigerian context, this essay, from a feminist perspective, closes this gap by engaging in a qualitative exploration of the lives of three female dancers in Nigeria telling their stories through dance. They are Kaffayat Oluwatoyin Shafau (Kaffy), Odumewu Debbie (Debbiepinkie), and Usiwo Orezinena Jane (Janemena). Exploring their social media archives, interviews granted to TV stations and a published autobiography “Alajoota” by Kaffy, this essay contextualizes and complicates the interpretations of sexualization in the Nigerian hip hop dance industry. Through dance Nigerian women performers are able to negotiate the heavily male-dominated hip hop scene. For them, dance is a coping strategy, a profession, a space for redefining self and embracing sexuality and femininity, and a form of youthful identity and inclusion. -
Lil Kesh Ladi Lyrics
It Young John the wicked producer! Skibo Skibo robo skibo, skibo robo skibo, ehba ooshey baddest [Verse - Phyno:] Emi Phyno ehnn baba Igbo ehnn baba obago kimo ladi ehnn kimo Jedi ehnn eghi simba Emi Phyno ehnn baba Igbo ehnn baba obago kimo0Akimo ladi ehnn kimo Jedi ehnn maghi simba Iranu abasha irasha iranu abasha iranu abasha iranu abasha iranu abasha iranu abasha iranu abasha This is Nonsense It’s obvious na enwelu conscience Anyi aba nye sie go ka enwe futalam ya E sie m saa efele ka anyi biara efele contest Ihe i bu n’ukwu Nwata bia check, m bu kwa the book o And ima na m ihe m choro is a chucku So,cool down and taste what i cook oo what i cook oo. Haa! O na ewu kwa gi Ibughi bore-hole mana m n’echu kwa gi E sie m racha gi ka oroma nkilisi so, in the hood anyi ebedo kwa n’isi Mara na agbari go m O buru na ichoghi carry go Everyday m n’achu ha ri gi are you dough? Lezie condition nawa for you though. Mtchew!… nonsense M n’aracha gi,i bu ube? See Eba puo osiso! [Verse - Lil Kesh:] Emi Keshi ehnn baba shoki ehnn kima ladi, kima Jedi ehnn kima mudi ehn.. wah wah Emi Keshi ehnn baba shoki ehnn kima ladi, kima Jedi ehnn kima mudi ehn.. Kima ehn ehn Iranu abasha iranu abasha iranu abasha iranu abasha iranu abasha iranu abasha iranu abasha iranu abasha Na ija lyrics zone dot com Olurun… jeje mi jeje mi mo joko si’ta mo bari omo kan to’n pe ni kemi nigba ti mo ri idi kemi Mo pariwo ahhh! Mo ni Kemi wa se o ma femi. -
Writing for Academic Purposes CLA 209
COURSE MANUAL Writing for Academic Purposes CLA 209 University of Ibadan Distance Learning Centre Open and Distance Learning Course Series Development Copyright © 201 7 by Distance Learning Centre, University of Ibadan, Ibadan All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or o therwise, without the prior permission of the copyright owner. General Editor : Prof. Bayo Okunade University of Ibadan Distance Learning Centre University of Ibadan, Nigeria Telex: 31128NG Tel: +234 (80775935727) E - mail: [email protected] Website: www.dlc.ui.edu.ng Vice - Chancellor’s Message The Distance Learning Centre is building on a solid tradition of over two decades of service in the provision of External Studies Programme and now Distance Learning Education in Nigeria and beyond. The Distance Learning mode to which we are committed is providing access to many deserving Nigerians in having access to higher education especially those who by the nature of their engag ement do not have the luxury of full time education. Recently, it is contributing in no small measure to providing places for teeming Nigerian youths who for one reason or the other could not get admission into the conventional universities. These course m aterials have been written by writers specially trained in ODL course delivery. The writers have made great efforts to provide up to date information, knowledge and skills in the different disciplines and ensure that the materials are user - friendly. In ad dition to provision of course materials in print and e - format, a lot of Information Technology input has also gone into the deployment of course materials. -
Simisola Album Mp3 Download Naija
simisola album mp3 download naija Download: Simi – O Wa N’bę [Audio+Video+Lyrics] Simisola Bolatito Ogunleye who simply goes by the stage name Simi , is a Nigerian soul singer and songwriter who started her career as a gospel singer, releasing her debut studio album in 2008 titled Ogaju . Now signed to X3M Music , Simi ‘s musical career however came into spotlight in 2014 after she released “Tiff“, which got nominated in two categories at The Headies 2015 and further brought her to mainstream recognition. From her sophomore studio album Simisola , TopNaija.ng brings you “ O Wa Nbe ” by Simi . Watch, download and enjoy! LYRICS. [Verse 1] All the party wey them dey do for Lagos City Na there where you go find Mummy Risi She no dey carry last oh; She no dey gree (eh eh) Ye oh, ye oh, ye oh, ye, ki lon wa ki ri? Ah, Mummy Yetunde, won tun la ya’wo (ah) Won fe ra gele lo s’ibi Iyawo (Iyawo) Daddy Suliya, won fe lo s’aye (ki lo de?) Won ti de fila pe k’a lo j’aye (o ga gan) Won j’amala, won tun lo sayo (omuti) Won pe Sunny Ade, won pe Baddo (Baddo) [Chorus] Eyi tun le gan o, won ni Ijo ti mo jo lana (ko ma i to mi rara oh eh) Aye ti mo je lojo yen oh ohh (ko ma i to mi rara oh eh) Onilu, sa ma rora oh (ko ma i to mi rara oh eh) Ijo ti fe ma wo’ra oh oh (ko ma i to mi rara oh eh) [Verse 2] Na so you dance and forget yourself (ehh) You take Jalopy block Mercedes Benz (eh eh ehh) Uncle Jide see us You brought me Aunty Susan Susie, she don see fire (fire) You say you no go leave am Ah, won fe lo da’wo (da’wo); o wo Aso Ebi lo s’ibi Iyawo (Iyawo oh) Daddy Suliya, won fe lo s’aye (ah) Won ti de fila pe k’a lo j’aye (k’a lo j’aye) Won j’amala, won mu Champagne (omuti eh) Won pe Chief Commander k’on wa play. -
The Quint V10.3
the quint : an interdisciplinary quarterly from the north 1 Editorial Advisory Board the quint volume ten issue three Moshen Ashtiany, Columbia University Ying Kong, University College of the North Brenda Austin-Smith, University of Martin Kuester, University of Marburg an interdisciplinary quarterly from Manitoba Ronald Marken, Professor Emeritus, Keith Batterbe. University of Turku University of Saskatchewan the north Donald Beecher, Carleton University Camille McCutcheon, University of South Melanie Belmore, University College of the Carolina Upstate ISSN 1920-1028 North Lorraine Meyer, Brandon University guest editor Gerald Bowler, Independent Scholar Ray Merlock, University of South Carolina Joseph Atoyebi Robert Budde, University Northern British Upstate Columbia Antonia Mills, Professor Emeritus, John Butler, Independent Scholar University of Northern British Columbia David Carpenter, Professor Emeritus, Ikuko Mizunoe, Professor Emeritus, the quint welcomes submissions. See our guidelines University of Saskatchewan Kyoritsu Women’s University or contact us at: Terrence Craig, Mount Allison University Avis Mysyk, Cape Breton University the quint Lynn Echevarria, Yukon College Hisam Nakamura, Tenri University University College of the North Andrew Patrick Nelson, University of P.O. Box 3000 Erwin Erdhardt, III, University of Montana The Pas, Manitoba Cincinnati Canada R9A 1K7 Peter Falconer, University of Bristol Julie Pelletier, University of Winnipeg Vincent Pitturo, Denver University We cannot be held responsible for unsolicited -
Inside Waltersmith Modular Refinery –By Gideon Osaka
FEBRUARY 2020 VOL. 3 NO. 02 CONTENTS 28 4 EDITORIAL INDUSTRY 5 Why IOCs are Reluctant to Produce Gas National Gas Network in Nigeria 6 Egina is a Technology Game Changer Code Activates ...Total MD 8 NCDMB, National Assembly Brainstorm on Local Content 10 Aiteo Group: Local Conglomerate with Gas Development International Pedigree 12 No Reform, No Cash: IOCs Hold out for PIB 14 Capacity Utilisation Bane of Local Content —Stakeholders ...As NASS plans to amend NOGIC Act 15 Provision of N450bn Fuel Subsidy Stokes Fresh Deregulation Fire 18 Special Focus: Inside Waltersmith Modular Refi nery 26 Despite Disruptions in Nigeria, Libya, Global Oil Demand Expected to Drop First Time in a Decade 34 How we’ll Terminate Fuel Importation – Kyari 44 FEBRUARY SHORT TAKES HEALTH 38 Common Workplace Problems LIFE 42 A-Z of Personality Branding INTEGRITY 40 AVIATION ENTERTAINMENT 46 Trouble Brews in Nigeria’s Aviation Sector Excitement as Davido, PROPERTY Olamide Drop Studio Albums 48 Still on the Search for Affordable Homes MOTORING 50 Nigeria Automotive Industry Development Plan Bill: NADDC, Stakeholders Plan ‘executive Bill’ for NASS 23 SPORT Star of the Industry 52 Buhari Appoints Amokachi Nigeria’s Captain Emmanuel Football Ambassador Iheanacho (rtd) Executive Chairman, Integrated Oil and Gas Limited he 3rd Nigerian Interna- The signifi cance of these tional Petroleum Sum- two developments is; while Tmit (NIPS) which took the National GasTransporta- place in Abuja 2nd week of tion Network code launched February has come and gone will give way for a level play- leaving stakeholders in the ing fi eld that will allow the global oil and gas industry flow of the much-needed in- with pleasant memories of a vestments in the country’s world-class event. -
Malami Justifies El-Zakzaky, Dasuki's Continued Detention
I will unbundle Supreme Court, Keyamo promises Says Nigeria to have 6 regional apex courts Submits that constitution replete with mistakes, needs amendment Abuja attorney general of the federation, his Tunde Opalana, first priority assignment will be to restructure the Supreme Court. A ministerial nominee, Festus Keyamo said the Supreme Court will Keyamo (SAN) from Delta State said henceforth, operate on regional basis if President Muhammadu Buhari with one in each of the six geopolitical Iran demands appoints him minister of justice and Continued on page 3 El-Zakzaky’s release from Nigeria g 5 www.dailytimes.ng DailyTimesNGR dailytimesnigeria dailytimesngr SATURDAY, JULY 27, 2019 VOL. 3 NO. 1001 N100 Ministerial screening: Malami justifies El-Zakzaky, Dasuki’s continued detention Says their detention is in public interest Canvasses collaboration between executive and legislature throw sentiments into their continuous detention Tunde Opalana, Abuja which is in the interest of the nation at large. Substantiating his submission with Section 174 of the 1999 constitution (as amended), he said A minister -designate - Abubakar Malami the constitutional provisions creates room for (SAN) has justified the continued incarceration preference of public interest over private interest. of the leader of Islamic Movement in Nigeria Malami was responding to a question raised by (IMN), Sheikh Ibrahim El- Zakzaky and former the Senate minority leader, Enyinnaya Abaribe, National Security Adviser, Col. Sambo Dasuki on the continuous detention of people against (rtd) among others being kept behind bars in order of courts for their bail. spite of court judgements ordering their release. Abaribe quoted exclusive rights of individual Malami, who was the immediate former Nigerians as entrenched in Sections 36 to 44 of Minister of Justice and Attorney General of the the constitution which he said are not being Federation, said such persons suffer continuous respected in the case of Dasuki and El-Zakzaky detention in the interest of the public. -
Origin Al Article
International Journal of Mechanical and Production Engineering Research and Development (IJMPERD) ISSN (P): 2249–6890; ISSN (E): 2249–8001 Vol. 11, Issue 3, Jun 2021, 81–100 © TJPRC Pvt. Ltd. THE NUANCES OF CRIMINALITY AND VIOLENCE IN CONTEMPORARY NIGERIAN POPULAR MUSIC: IMPLICATION FOR MUSIC PRODUCTION AND ENGINEERING CHIJIOKE NGOBILI & BENEDICT AGBO* Department of Music, Faculty of Arts, University of Nigeria, Nsukka ABSTRACT This article examines and discusses how criminality, violence, and Nigerian popular music interface and interact to shape and influence the Nigerian society, politics, language expressions, and its youths since the 21st century. The article relies on oral/written interviews, opinion polls conducted through a social media platform (Facebook), and some of the extant literature on the Nigerian popular music published on mainstream and other media. Also, six Nigerian hip-hop songs and raps by Olamide, Teni, Lil Kesh, Naira Marley, and Chinko Ekun are selected for examination based on their criminality/violence themes. An important finding is the nuanced overt and covert promotion/endorsement of crime, criminality, criminals, and violence in the textual and musical contents of the selected songs. This, in turn, opens up a further inquiry into the socio-political and sociological backgrounds, formations, and influences of some Nigerian artists as well as the implications on their youthful Nigerian audiences as well as music production and engineering. Article Original Addressing properly this ugly trend in music industry will improve music production and engineering KEYWORDS: Nigerian popular music; Nigerian hip-hop and rap; criminality; violence; promotion/endorsement; music production Received: Dec 08, 2020; Accepted: Dec 28, 2020; Published: Mar 30, 2021; Paper Id.: IJMPERDJUN20216 INTRODUCTION Crime, violence, and music are largely human acts that are as old as their actors in every society. -
52 Materialism, Vulgarism, and Profane Themes in Nigeria's Hip Hop
52 Materialism, vulgarism, and profane themes in Nigeria’s hip hop music videos: A content analysis ONIWON, Okatahi Godwin Department of Mass Communication, The Federal Polytechnic Nasarawa +2348036467447 [email protected] & SALAMI, Juwaretu Ozohu Department of Mass Communication The Federal Polytechnic Nasarawa +2348033717418 [email protected] Abstract Describing the Nigerian Hip Hop music industry as the latest religion, and the youth as its true adherents may not be far from reality. As a genre of music that was adapted from the Western world, particularly the United States, the Nigerian brand of Hip Hop is setting a pace in African entertainment. Whereas the industry has become mainstreamed with overwhelming acceptance across our society, its didactic definition of success to our youths is becoming extremely worrisome. By means of vulgar and profane lyrical contents, excessive display of luxury, status and the “good life”, the Nigerian Hip Hop music ingress into the psyche of our youths: distracting them from productive causes and engaging them in frivolities. Materialism, vulgarism and profane themes are now fundamental message within Hip Hop, but these factors have received little attention in extant research. As a result, this study examines the underlying meanings and extent of material, vulgar and profane themes in Nigeria’s Hip Hop music videos. With a total of 185 hip hop music videos, selected by means of a purposive sampling procedure, a content analysis design was adopted. Two independent coders were trained for the content analysis. The reliability of the selected videos was determined through Cohen’s kappa (k) symmetric measure of agreement. The result yielded 0.782 (78 percent), representing a good measure of agreement. -
Law of the Dance: Legal and Regulatory Framework for Promoting Appropriate Music Content in Nigeria
LAW OF THE DANCE: LEGAL AND REGULATORY FRAMEWORK FOR PROMOTING APPROPRIATE MUSIC CONTENT IN NIGERIA Augustina T. Clark* ABSTRACT he Nigerian music industry has evolved from humble beginnings. It Thas witnessed a rapid ascendance from ancient cultural songs based on the norms and customs of the people around where the music emanated, to a global multi-billion-naira industry. The industry is largely regulated by the National Broadcasting Commission, National Film and Video Censors Board, and the Copyright Protection laws and other interest bodies. These institutions have statutory roles to review and censure music contents that overstep or collide with cultural, legal, ethical or intellectual property requirements or norms. However, the recent rise in the rate of release and production of lewd, inappropriate and culturally incompatible music contents in the Nigerian music industry have generated calls for a closer review of how regulatory institutions can be strengthened to effectively address the negative impacts of contemporary music on Nigerian laws and norms, especially among youths. This article evaluates the roles of law in regulating the contemporary music industry in Nigeria to ensure coherence and compatibility with ethical, legal and cultural norms. It analyses how current regulatory institutions in Nigeria can be strengthened to effectively discharge their regulatory roles of ensuring the appropriateness of music content for the good of the Nigerian society. Keywords: Music, appropriate content, videos, lyrics, effects, youths, culture. doi: http://dx.doi.org/10.4314/jsdlp.v6i1.13 * LLB (Benin), BL (Abuja), LLM (Ibadan), Doctoral Candidate (Unilorin), Member (DCON) (Professional Negotiator and Arbitrator). Contact: [email protected]; [email protected]; 08023598075; 07061648378. -
Escapist Discourse Strategies in the Linguistic and Nonlinguistic Expressions of Sex and Sexuality in Nigerian Hip-Hop Lyrics and Videos
ESCAPIST DISCOURSE STRATEGIES IN THE LINGUISTIC AND NONLINGUISTIC EXPRESSIONS OF SEX AND SEXUALITY IN NIGERIAN HIP-HOP LYRICS AND VIDEOS BY ADEOLA OLUWAGBEMINIYI OJOAWO Matric No: 159565 B.A. (Ife); M.A. (Ibadan) A Thesis in the Department of English Submitted to the Faculty of Arts in partial fulfilment of the requirements for the Degree of DOCTOR OF PHILOSOPHY of the UNIVERSITY OF IBADAN JULY, 2016 DEDICATION This work is dedicated to the Almighty, who knew me before I was formed, and to the people I call family. ii ACKNOWLEDGEMENTS Firstly, my appreciation goes to Almighty God who saw me through and indeed confirms his word in my life. He gave me the word “possible” and made me run by it. Special thanks to my parents, Dr and Mrs Bolanle Ojoawo. My father‟s life, as a scholar and goal getter, motivated me as a young girl and it has always been my dream to bag this degree one day. However, this dream would not have been achieved if my mother did not stand by me. She encourages me with her words, care, prayers and her “widow‟s mite”. I love you mum!!! My siblings: Akintomide Abiodun and Ayomide Abiodun, what can I do without you? I feel blessed to have you. Your consistent follow-up ensured no room for failure. I want to also thank my meticulous supervisor, Dr A.B. Sunday, for his patience, emotional intelligence, support, guidance, encouragement, advice and the confidence he had in me throughout my time as his student. I dare to say I have been extremely fortunate to have such a brilliant guiding angel, because completing this work would have been so difficult even unachievable without him.