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Sexuality and ‘Sexual Largess’ Themes, Lyrics and Images in Nigerian Hip- Hop Music Videos: A Content Analysis By Jemisenia John Oluwaseyi 08032070010 [email protected] & Ezenagu Nnedinma Roseline 08054805605 [email protected] Department of Sociology and Anthropology University of Nsukka Abstract

Sexual contents in the media have received great attention from scholars and researchers since the 1980s till present, regrettably very little has been done in this area of research in Nigeria, where increasing controversies have continued to trail the contents of videos that are shown on such terrestrial channels as Channel ‘O’, Hip-TV, Soundcity, Mtv base, and BET. Issues surrounding the rate of sexuality, sex, sexism, objectification, materialism, and the ‘good life’ (as it is shown on these music channels) have come under intense scrutiny by observers, commentators, scholars and the general public. Consequently, this study analyzed themes, lyrics and images bordering on sexuality and sexual largess in Nigerian Hip-Hop music videos on two popular stations on the terrestrial channels: Soundcity and Hip.Tv music channels between the periods of April to June, 2015. Through a multi-stage sampling technique, 132 videos were selected for analysis. Two independent coders were trained. The Cohen’s kappa (k) symmetric measure of agreement was employed in order to ensure the reliability of items. The Cohen’s kappa (k) for this study was 0.792. Altogether, result revealed that sexual themes, lyrics and images that are derogatory to womanhood are predominant in the analyzed music videos. The study recommends among others, enlightenment on the part of musicians/artistes on the need to promote messages of gender equality.

Key Words: Feminism, Hip.Tv, music videos, sexuality, sexual largess, Soundcity Tv

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Introduction The impact of music videos on the lives of people, most especially the youths in most societies is undeniable. As a medium of communication, music stands out as a significant agent of socialization that enforces and reinforces attitudes, opinions and behaviours relating to sexuality. As such, this medium appears to play a powerful role in the social construction of knowledge about the world (Angell). By means of themes, lyrical content and movie like scenes, the subtle domination of women by men, ingress the psyche of audience members of the public, whether consciously or unconsciously. Commenting on this therefore, Yocum, notes that lyrics, beat, tempo, and melody creates the length through which we can view the world and find a voice that reflects lived experiences (19). For men and women therefore, the didactic impact that this medium has on them greatly differs with far reaching consequences. For example, both sexes (most especially the females) see themselves the way this medium describes them and even in specific circumstance, they act it out, covet it and even wish to be like them, even though, they know that the characters shown in the videos are fictitious. Studies (e.g., Dunnu and Ugbo;

McKenna) give credence to the above submission. At the center of all these are the television broadcast stations that have solely been dedicated to showing music videos every 24 hours of the day. This is a place around the world and for Nigeria in particular, music video broadcast stations play significant role in the socialization of Nigerians, most especially the youths. Through this medium, that ideas pertaining to gender roles and sexuality are passed to the audience members of the public through themes, lyrical contents and imageries.

Concerning the types of themes, images and representation, several content analyses have shown that from 1940s to present, 70 percent to 90 percent of popular songs have contained themes related to sexuality (Arnett). Specifically, one of the most striking features of music 3 videos is the sharp demarcation of gender roles especially in terms of sexuality (Arnett). For instance, in a content analysis of 1,000 music video characters, Utterback et al., found that males are more depicted as adventurous, aggressive, and dominant while on the other hand, women are more often depicted as affectionate, fearful, and nurturing. Other studies however, found more degrading representation of women as sex objects, subjects, pleasers, properties, the weaker sex, faceless or lacking identity (Sommers-Flanaga, Sommers-Flagana and Davis, see also, Arachie;

Kimbrell; Lewis); and are regularly shown in images and scenes suggestive of erotic sexual relation (Gow; Greeson and Williams; Pardun and McKee; Sherman and Dominick). Similar studies have also showed that women were usually “portrayed as a decorative sexual object” and were seen wearing revealing clothing as against men who usually appear fully clothed (American

Psychological Association 5). Although, several studies have documented the depiction and representation of women through music videos, scanty literature exists in terms of sexualization of women in the lyrics of these videos (American Psychological Association). Equally, sexual contents in the media have received great attention from scholars and researchers since the 1980s till present, most especially in the United States (Kimbrel), regrettably very little has been done in this area of research, in Africa and particularly in Nigeria. In this current research, therefore, we analyzed themes, lyrics and scenes bordering on sexuality and sexual largess in Nigerian

Afro Hip-Hop music videos on two popular stations on the terrestrial channels; Soundcity and

Hip.Tv music channels.

Statement of the Problem Following the deregulation of the broadcast media in 1992 by the Babangida regime, an expanded way of broadcast communication emerged. From that time to the present day, music videos of varying genres (both within and outside Nigeria) have enjoyed air play from most of 4 the available private broadcast stations in the country and this has given members of the public the opportunity of watching these videos. It can also be said that along the line, with the advent of democracy in 1999, the Nigerian music industry itself grew from being unacceptable by

Nigerians to being the favourite of Nigerians themselves as Nigerian music enjoyed massive airplay like never before. Thus the Nigerian music broadcast stations, most especially the private ones, are in part, constantly, responsible for playing videos, as new songs are released and new videos put into the market for public consumption. Beyond the scope of this recent development, are the controversies that have continued to trail the contents of videos that are shown on such terrestrial channels as Channel ‘O’ (now shut down), Hip-TV, Soundcity, Mtv base, and BET.

Issues surrounding the frequency and rates of sexuality, sex, sexism, objectification, materialism, and the ‘good life’ as it is shown on these music channels have come under intense scrutiny by observers, commentators, scholars and the general public; this creates an epistemological gap and in the frequency and the underlying meanings of sexual themes, imageries and lyrical contents of these music videos and therefore demands pressing investigation. Consequently, the study carried out a content analysis of music videos that were aired on Soundcity and Hip.TV within the period of April to June, 2015.

Research Question 1. What is the frequency of sexual themes and lyrics shown on Soundcity and Hip.TV

within the period of April to June, 2015?

2. What is the frequency and the underlying meanings of sexual images shown on

Soundcity and Hip.TV within the period of April to June, 2015?

3. How are men and women portrayed in the music videos that were shown on Soundcity

and Hip.TV between the periods of April to June, 2015? 5

Objectives of the Study 1. To determine the frequency of sexual themes, lyrics and images shown on Soundcity and

Hip.TV within the period of April to June, 2015.

2. To determine the frequency and the underlying meanings of sexual images shown on

Soundcity and Hip.TV within the period of April to June, 2015.

3. To determine how men and women are portrayed in the music videos that were shown on

Soundcity and Hip.TV between the periods of April to June, 2015.

Operational Definition of Terms 1. Sexuality: this refers to the description, comparism, labeling, erotic activity (positions)

and name calling of bodies in music videos.

2. Portrayal: this refers to the assignment of specific behaviour to males or females, in

relation to sexuality and other issues.

3. Themes: this refers to the main subject that keeps recurring in a piece of music.

4. “Sexual Largess”: this refers to acts of generosity in the giving of sexual satisfaction that

it is usually elicited by forceful or subtle demand.

5. Nigerian Hip-hop music: this refers to the Nigerian made hip-hop genre of music which

is composed and performed by employing a blend of several local dialects and are often

times intermixed with English Language.

4. Hip-hop music videos: this refers to the Nigerian hip-hop motion pictures that are

accessible to audience members through satellite channels by private broadcast stations.

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Literature Review The Concept of Sexuality The concept of ‘sexuality’ has though existed for a very long time, the meanings and the perception cultivated towards it was immersed in concealment. But over the past few generations, sexuality has become more open (“Perspective on Human Sexuality” 3). That being so, the term itself connotes different things to different people; suggesting a lack of universal definition. For the purpose of this study therefore, we used the definition of Advocacy for

Youths wherein sexuality was defined in terms of sensuality, sexual identity and sexualization

(excluding other terms like, intimacy and sexual health reproduction). First, sensuality is the awareness and feeling about your own body and other people’s bodies, especially the body of a sexual partner (Advocates for Youths 124). Sensuality further enables humans to feel great about their bodies’ look and feel and what they can do. This comes along with the pleasure from the bodies. This part of human sexuality affects the body image, helps experiences pleasure, satisfy skin hunger (the hunger for touch), physical attraction for another person and fantasy (Advocates for Youths 124). Second, sexual identity refers to a sense of who a person is sexually, including a sense of maleness and femaleness. Third, sexualization refers to the use of sexuality to influence, control and manipulate others. Sexualization also ranges from harmless manipulation to sadistically violent and illegal manipulation such as flirting, seduction and sexual harassment and sexual abuse (Advocates for Youths 125-126).

Sexuality and Hip-Hop Music in Nigeria The strategic position of the Nigerian as a multi-billion naira industry has been observed in literature (see, Laidi and Omobowale). Even though, the hip music around the world has its root in the African American culture during the early and mid-1970s (Alridge and 7

Stewarts), its development and transfiguration in Nigeria is note worthy. For instance, Adedeji described how the Yoruba culture impact on the development of modern popular music in

Nigeria as it is today. According to Adedeji, contemporary Nigerian popular music practitioners appropriate the Yoruba culture in negotiating their musical and national identities and counteract popular music homogenization through the creation of hybrid musical styles and cultures.

Moreover, the infusion of the Igbo culture into the Nigerian hip hop mainstream testifies to the influence of Nigerian major languages and culture on the development of hip hop. This influence is not experienced in isolation however; it is lived through the concept of language alternation, code switching and code mixing (Agbo). It is through this process that ideologies from all spheres of society are passed to the audience members of the public, including ideas about gender roles, sex roles and sexuality. A typical example of the type of hip hop that is embedded with code switching, language alternation and code mixing, code switching and yet, ideologies of manipulating the sexuality of women is the song titled ‘Ladi’ by and featuring

Lil Kesh. In one of the verses rendered by , he goes:

…….iranu, abasha (Nonsense, dirtiness) x4, …Olorun jeje mi, jeje mi mo joko si’ta (my

God! I sat quietly outside), Mo bari omo kan tan pe ni Kemi (then I saw a girl named Kemi),

Nigbati mo ri idi Kemi, Mo pariwo ahhh! (when I saw Kemi’s butts, I exclaimed, ahhh!) ….she

(Kemi) say Kesh so you want to sample me (Sample me) are you sure that you can handle me?

(she said Kesh, “so you want to have sex with me?”, “are you sure that you can handle me?”)……..

Although other themes recurring around violence, materialism, “yabis” (see, Olatunji), and so on are often featured, the dominance of sexual themes is of significance in the Nigerian hip hop music entertainment. Whereas the rate of sexual themes in the Nigerian hip hop music 8 industry cannot be ascertained as of now, due to dearth of empirical study on sexuality in

Nigerian hip hop music or its videos, lay person’s observation on most of the private television channels that mostly play Nigerian hip hop music videos perhaps suggests high rate of sexual content in music themes, images and lyrical content. Commenting on the above submission,

Oikelome noted:

The lyrics of many Nigerian Hip-Hop and rap genre have common characteristics: expressive vulgarity, sexual resonance, preposterous violence, drugs and good times symbolism. The large amount of sexual content in Hip-Hop [videos] and songs leaves much to be desired…the industry thrives on sexism and asking artists to promote feminist vision would be asking them to drop their contracts and start selling far fewer records (para, thriving on sexism).

In fact, the recent step taken by the Nigerian Broadcasting Corporation (NBC) in July

2015 on Some songs that contain vulgarity in lyrics, obscene videos and other corrupting themes

(see, figure 1 below) is clearly indicative of the observations from stakeholders and the entire public as to the perceived rate of sexual themes that have become predominant in the Nigerian hip hop music videos. Although, it is obvious that the issue of sexuality in the Nigerian hip hop music industry is attracting attention, its rate and depth lacks empirical support, consequently, this study undertook a content analysis of music videos that were aired on Soundcity and Hip.TV within the period of June to August, 2015.

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Source: NET Newspapers Figure 1: Showing list of music videos that have been banned from being broadcasted Review of Empirical Literature In this segment of the study, the researcher considered relevant empirical studies that are related to the current one either in content or design. First, is the study of Kimbrel on “the visual analysis of heterogeneous sex role interactions: a content analysis of popular music”. The study examined the hip-hop cultured music videos from years 1989-2006. The study also uniquely focused on non-verbal sex role interactions in this genre of music videos. The study further adopted qualitative content analysis method by using a numerical process to produce key categories and measurable variables. The sampled hip hop culture videos were randomly chosen based on the selection of number one songs over a 16 year period from the hip hop genre. A total of 32 music videos were analyzed. Analyses from the study revealed that hip hop cultured videos do contain instances of negative behaviours and manifestations. The study also found out that 10 men were portrayed as dominant and/ or vertical than women in the sampled videos. This study though similar in content and design to the current one, failed to code verbal communication which could generate deeper insights to the study. This study therefore, filled the missing gap by analyzing themes, lyrics and scenes bordering on sexuality and in Nigerian Afro Hip-Hop music videos on two popular stations on the terrestrial channels; Soundcity and Hip.Tv music channels.

Equally related to the current study is the study of R. Sommers-Flagana, Sommers-

Flagana and Davis in their article titled “what’s happening on music television?: A gender role content analysis”. The purpose of the study was to provide an expanded, updated and alternative gender role content analysis of MTV music videos. In the study, the researchers analyzed 40

Music Television (MTV) music videos across gender role based content categories. Therefore, videos were rated at 30 seconds intervals by four trained raters using a consensus model.

Findings from the study showed men and women were approximately equally subject to objectification during music videos: suggesting that the camera focuses on the body irrespective of whether the body belongs to a male or a female. Furthermore, the study revealed that although women were more likely to act in implicit sexual ways, men also behaved implicitly sexual at an extremely high rate. Overall, females, although they appear less often in the music videos, they were just as likely to be portrayed as “actors” as males. In contrast, females were significantly more frequently portrayed as recipient, passive than males in the videos. This study also appears similar with the current one, however, the study was narrow in its measurement and categorization and sample size (40 MTV music videos). The current study therefore filled the missing gap by extending categories and measurement with a corresponding increase in the sample size. 11

Another similar study was carried out by Primack et al. where a content analysis was carried out using contemporary popular music and particular attention was paid to the prevalence of degrading and non-degrading sexual references. The Billboard magazine was used to identify the top popular songs in 2005. Two independents coders analyzed all 297 songs for degrading and non-degrading sexual references. Result from the study revealed that of all the 297 song identified, 103 (36.9%) contained references to sexual activity. Songs with references to degrading sex were more common than songs with references to non degrading sex (67 [65.0%] vs. 36 [35.0%], p<0.001). Finally, result showed that songs with degrading sex more likely to contain references to substance use, violence, and weapon carrying than songs that had no mention of sexual activity. Despite the findings, the study was limited in its selected period of analysis and medium. First, the study only analyzed songs within a single year (2005); leaving out other recent years, second, the songs analyzed were limited to the audio aspect of the music; leaving out visual aspect. The current study improved in this direction by investigating a mix of both current songs and old songs and including the visual aspect, by analyzing scenes from the selected music videos.

Additionally, Langdon examined the possible links between music lyrics and adolescent sexual and health behaviour. This relationship was first explored through a content analysis of sexual content of popular music lyrics from the years 1940-2009. The study sample included 10 songs per year, spanning over 70 years, for a total of 700 songs. With the aid of trained coders, the study found the following; an increasing level of sexual content in music between the 70 year period; differences in sexual content between genres and “eras” of different music across time; and a significant correlation between sexual contents in music and adolescent sexual and health behaviour. Although this study did seem like the current one in both content and designs, there 12 are limitations in that the study ignores the visual and the qualitative aspect in its analysis. The current study will therefore fill this gap.

Theoretical Framework This study is anchored on the feminist theory. The feminist theory is a “woman-centered or women-centered” (Ritzer 454) theory that “view and understand society through experiences of women and/or examine the generally deprived status of women in society” (Babbie 64). Its early proponents are Jane Addams (1860–1935), Charlotte Perkins Gilman (1860–1935), Anna

Julia Cooper (1858–1964), Ida Wells-Barnett (1862–1931), Marianne Weber (1870–1954), and

Beatrice Potter Webb (1858–1943).

According to Ritzer, the Feminist theory explains the society in the following ways; First, the starting point of all its investigation is the situation (or the situations) and experiences of women in society. Second, it seeks to describe the social world from clear and distinctive vantage points of women. Feminist theory stands out when compared with most theories in that it is the work of an interdisciplinary and international community of scholars, artists, and activists.

Feminist theorists seek to broaden and deepen sociology by reworking disciplinary knowledge to take account of discoveries being made by this interdisciplinary community.

Although the sociological theory of each of these women is a product of individual theoretical effort, when they are read collectively, “they represent a coherent and complementary statement of early feminist sociological theory”(Ritzer 205). According to Ritzer, there are three basic premises which serve as impetus in the understanding of the Feminist theory and explanation of the social world. They are posed in form of questions as follow: The first basic question is: “And what about the women?” In other words, where are the women in any situation being investigated? If they are not present, why? If they are present, what exactly are they doing? 13

How do they experience the situation? What do they contribute to it? What does it mean to them? The above premise provides the explanatory power in the understanding of the phenomenon under study; when applied to the Nigerian hip hop music videos. Feminism’s second basic question is: “Why is all this as it is?” In answering this question, feminist theory has produced a general social theory with broad implications for sociology. The second premise equally provides explanations in terms of the causes of inequality between men and women and it is well understood when applied to sexuality in Nigerian hip hop music video. One of feminist sociological theory’s major contributions to answering this question has been the development of the concept of gender. The third question for all feminists is: “How can we change and improve the social world so as to make it a more just place for all people?.” Here the last premise calls for mass/collective action against status quo.

There are several orientations of Feminist theory: Liberal, Marxist, radical, psychoanalytic, cultural, black, socialist, development, lesbian, stand point, men, multi-ethnic and postmodern (Debbie and Antonia; Haralambos and Holborn; Lorber; Ngwainmbi; Ritzer) which typically employ “oral histories” as the basis of their methodology. The Feminist theory adopted for this study is considered to be of significant importance because of its explanatory power in the understanding of the peculiar portrayal and experiences of women in the music world, and as a matter of fact, as it relates to music hip-hop videos and the way in which women are objectified for the purpose of gratifying men- this a typical experience of women in the world of patriarchy.

Methods

We adopted a content analysis design. The reason for this is because content analysis permits the study of ‘already made’ data; and processes occurring for a long time (Babbie 307). 14

In selecting the sample for analysis, we adopted a Multi-stage sampling technique. First, two 2 broadcasting stations were purposively selected from the DSTV (the satellite cable service of

Multi-choice). They are Soundcity Tv and Hip TV. The choice of these private stations was due to their position as indigenous stations, dedicated to airing music programmes, 24 hours a day.

The duration covered three months beginning from 1st April to 30th June, 2015. Second, we adopted a systematic random sampling with a random start by constructing a sampling frame which was numbered i.e. the days from 1-90. The sample size, n, was decided to be 30. This

rd gives a sampling interval, k = 3. That is 3X 30=90 and 90/30=3. Third, every 3 element was selected. Every third day broadcast music of the broadcast stations were recorded for analysis.

The procedure is shown as below:

3 6 9 12 15 18 21 24 27 30 33 36 39 42 45 48 45 …………………………… 90 The recording was done based on the broadcast programme schedule for playing, strictly,

Nigeria Hiphop music from 7: am to 10: am and 8: pm to 10: pm of the selected days. In the end

132 music videos were recorded for analysis (songs that were repeated during subsequent broadcast were not recorded). The lyrics were obtained from naijalyrics.com and Hip. TV. 99 music videos has males as its main character, while, the remaining (33 music videos) has females as its main character. The artistes or characters that featured in the 132 recorded videos are as follow: Kaycee, Harrysong, Cynthia, J. Martins featuring Koffi Olomide, Terry G, Star-boy

Wizkid, M.I African Rapper, Nyanya featuring , , Phyno, Samsung, Mr.

Flavour, Bracket, Uhuru, Sakatan, Sarkordie, Teckno, Don Jazzy, illbliss, Da Craine, ,

Kelly Handsome, Da Prince, Mumah Gee, Wande Cole, Ice-Prince Zahmani, Olamide, Jesse

Jagz, Sound Sultan, Lynxx, P-square featuring Awilo Logonmba, Mr2Kay, , Dr. 15

S.I.D, Dbanj, Kiss Daniel, , Spider Rider, featuring Phyno and Olamide,

Orezi featuring , Mr. Raw featuring Famzy, Mc Galaxy, P-square, Afro Candy, Lil Kesh,

Seyi Shay, Tonto Dikeh, and . While some of the artistes that were selected for coding and analyses had more than a single song, others had only one in the selected sample. This sample was chosen because it fits the purpose and the original intent for which the investigation was to be carried out. Only the 132 videos were coded, two coding assistants who possess profound knowledge in the indigenous Nigerian languages of Igbo and Yoruba were employed and specifically trained for the purpose of placing the appropriate words in the appropriate categories and providing qualitative insights for words that are considered important to the study.

The reason for the choice of the two languages was because the Nigerian Hip-hop musicians most frequently employ these two languages in their musical works.

In the analysis of the selected sample, we adopted both quantitative and qualitative methods by means of coding the manifest content and the latent content (Babbie 301) respectively. For the manifest coding, frequencies and percentages were employed to determine the frequencies of the variables of interests. In addition, the latent content of the sample were coded by the transcription of the underlying meanings attached to the images in each of the sampled videos. We employed the Statistical Package for Social Sciences (SPSS 16.0) for the analysis of the study. We also analyzed the inter-coder reliability measure so as to determine the extent to which independent coders evaluated the characteristics of the selected videos and reached the same conclusion. The Cohen’s kappa (k) symmetric measure of agreement was employed. This was done in order to ensure the reliability of variables. The Cohen’s kappa (k) for this study was .792. Cohen’s kappa (k) can range from -1 to +1. This is consistent with the 16 guidelines from Altman. Therefore, a Cohen’s kappa (k) of .792 represents a good strength of agreement. Frequencies and tables were also used in the analysis of the data.

Coding Categories

Here, the variables of interests to the study are therefore assigned into the following categories with their attending dimensions and /or indicators:

Sexual Themes, Lyrics Indicators

 Name calling and shaming: baby, sisi, sexy, chicks, lepa, orobo, omoge, aunty, omo and

others

 Labeling of body parts: breast, boobs, bobby, barca, bakassi, bum, leg, lips, waist, kaka,

ukwu, idi, furo, and others

 Description of women in relation to physical objects: Bentley, Ferrari, bumper, rear

light, bugatti and others.

 “Sexual largess”: give it to me, feel it, I’ll give it to you, take am (take it), chop am (eat

it), ride am (ride it), roll it, twist it, whine it, shake am (shake it) and others

Images Indicators

 Appearance of women: appearance of nude women (in bra, g string, bum short, etc),

appearance of clothed women (in jean trouser, shirts and native wear) and semi nude

women (in revealing cloths, mini skirt below the knee, spaghetti and other skimpy dress).

 Dance gesture/move/Position: sexually suggestive and non-sexually suggestive. In

judging a sexually suggestive dance move, erotic camera poses, and physical positions,

we considered any dance move by either male or female character in the videos which

appears to be sexually provocative and erotic. This comes by dancing

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Portrayal Indicator

 Vertical/Active: hustler, the blessed, the strong, the mighty, handsome, the mighty,

the rich, the responsible, the protector, etc.

 Horizontal/Passive: the gentle, the nice, the sexy, the fine, the cool, the seducer, the

‘wifey’, the mother, etc.

Result Question 1: What is the frequency of sexual themes and lyrics shown on Soundcity and Hip.TV within the period of April to June, 2015?

Table: 2. Frequency of name calling and shaming of women

Cumulative Frequency Percent Valid Percent Percent Valid None 10 7.6 7.6 7.6 1-15 times 16 12.1 12.1 19.7 6-10 times 22 16.7 16.7 36.4 11-15 times 31 23.5 23.5 59.8 16-20 times 44 33.3 33.3 93.2 21 times and above 9 6.8 6.8 100.0 Total 132 100.0 100.0 Source: Survey Table 2 above shows the frequency of name calling and shaming of women in the 132 music videos that were analyzed. Findings revealed that 44 (33.3%) videos feature name calling and shaming (as measured by the indicators described earlier) 16-20 times, while, 31 (23.5%) videos feature name calling and shaming 11-15 times. Additionally, 22 (16.7%), 16 (12.1%) and

9 (6.8%) videos feature name calling and shaming 6-10 times, 1-15 times and 21 times and above respectively. On the other hand, 10 (7.6%) has no feature of name calling and shaming.

The findings above suggest that on the whole, the overall majority (92.4%) of the videos featured name calling and shaming at different levels as against 7.6% of the videos that did not feature such.

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Table: 3. Labeling of women’s body parts Cumulative Frequency Percent Valid Percent Percent Valid None 19 14.4 14.4 14.4 1-15 times 30 22.7 22.7 37.1 6-10 times 22 16.7 16.7 53.8 11-15 times 26 19.7 19.7 73.5 16-20 times 21 15.9 15.9 89.4 21 times and above 14 10.6 10.6 100.0 Total 132 100.0 100.0 Source: Survey Women may have been named and shamed by the themes and lyrics of the sampled music videos, but how often are women’s body parts labeled? Table 3 shows that women’s body parts are often labeled, although the frequencies of labeling vary. Findings showed that 26

(19.7%) music videos label women’s body parts 11-15 times. Also, 30 (22.7%) of the sampled music videos label women’s body parts 1-5 times, while 22 (16.7%) music videos label women’s body parts 6-10 times. 21 (15.9%) and 14 (10.6%) music videos label women’s body parts 16-20 times and 21 times and above respectively. Finally, 19 (14.4%) did not label women’s body parts at all.

Table: 4. Description of women in relation to physical objects Cumulative Frequency Percent Valid Percent Percent Valid None 35 26.5 26.5 26.5 1-5 times 34 25.8 25.8 52.3 6-10 times 36 27.3 27.3 79.5 11-15 times 21 15.9 15.9 95.5 16-20 times 6 4.5 4.5 100.0 Total 132 100.0 100.0 Source: Survey Regarding description of women in relation to physical objects, table 4 above shows that of the 132 music videos that were sampled, 36 (27.3%) describe women in relation to physical objects 6-10 times, 35 (26.5%) did not describe women in relation to physical objects, 34

(25.8%) describe women as physical objects 1-5 times, 21 (15.9%) describe women in relation to physical objects 11-15 times and 6 (4.5%) describe women in relation to physical objects 16-20 19 times. Overall, 73.5% of the entire sampled music videos describe women in relation to physical objects in various ways and at different frequency.

Table: 4. ‘Sexual largess’ Cumulative Frequency Percent Valid Percent Percent Valid None 11 8.3 8.3 8.3 1-5 times 22 16.7 16.7 25.0 6-10 times 33 25.0 25.0 50.0 11-15 times 46 34.8 34.8 84.8 16-20 times 17 12.9 12.9 97.7 21 times and above 3 2.3 2.3 100.0 Total 132 100.0 100.0 Source: Survey A preponderance of the music videos may have describe women in relation to physical objects, the rate (see table 4) of sexual largess themes and lyrics suggests that the majority

(34.8%) of the music videos sampled use sexual largess lyrics 11-15 times. 33 (25.0%), 22

(16.7%), 17 (12.9%), 3 (2.3%) music videos use sexual largess lyrics 6-10 times, 1-5 times, 16-

20 times and 21 times and above respectively. On the contrary however, the remaining 11 (8.3%) of the music videos did not use sexual largess lyrics. The implication of the above suggest that sexual largess lyrics such as “give it to me”, “feel it”, “I’ll give it to you”, etc appear in 91.7% of the overall sampled music videos.

Question 2: What is the frequency and underlying meanings of sexual images shown on Soundcity and Hip.TV within the period of April to June, 2015?

Table: 5. Appearance of women Cumulative Frequency Percent Valid Percent Percent Valid Nude 86 65.2 65.2 65.2 Semi nude 32 24.2 24.2 89.4 Clothed 14 10.6 10.6 100.0 Total 132 100.0 100.0 Source: Survey As to the appearance of women in the sampled music videos, table 5 shows that women appear nude in 86 music videos (representing 65.2%), semi nude in 32 music videos 20

(representing 24.2%) and fully clothed 14 music videos (representing 10.6%). The above finding is indicative of the fact that women appear nude in majority of the music videos.

Table: 6. Dance/gesture/move/position of men and women Cumulative Frequency Percent Valid Percent Percent Valid sexually suggestive 92 69.7 69.7 69.7 non sexually suggestive 40 30.3 30.3 100.0 Total 132 100.0 100.0 Source: Survey Table 6 shows dance moves/gestures/positions, of both men and women, which are sexually suggestive. Findings revealed that 92 (69.7%) music videos contain sexually suggestive dance, gesture, move and positions by men and women, while, the remaining 40 music videos

(30.3%) did contain non-sexually suggestive dance, gesture, move and positions by men and women. The implication from the above (table 6) is that majority of the videos that were sampled contained sexually suggestive dance, move etc. Using the qualitative perspective in the understanding of the appearance of women, comparisons were made with men and women observed in the selected samples. Finding reveal men gathering in groups and this perhaps indicates unanimity and oneness among these men as they all exhibit physical characteristics like dressing up (covering with full clothings) while the female were loosely dressed and or most at times seen nude-these women were never seen gather together like their male counterparts.

While these men were also observed standing erect in solidarity, the women were seen squatting, dancing, bending, lying on the floor and doing some forms of acrobatics in the presence of these men. This is clearly indicative of a sharp differential in status and how men and women appear through the society’s eye. In majority of the videos, women were seen as possessions and nature’s gifts to satisfy the pleasure of men. While men were living out ostentatious and materialistic life style, women were treated as part of the accessories that should be used to live a

“good life”. Videos with titles like ‘Testimony’, ‘Chop my money’ by P Square; ‘Expensive Shit’ 21 by ,‘Shuperu’ remix by Orezi featuring Davido and many more clearly suggest the appearance of materialistic features. In fact, in some of the videos, women were also seen as part of the material things that ‘beautify’ a place. Such scenes are observable in the ‘Testimony video’ by P Square where women were seen in significant numbers dancing, assuming positions that suggest sexual activity and doing things to the admiration of the very few men. Also the Afro hip hop music video titled ‘Expensive Shit’ by Wiz Kid showed women lying down all over the room with the main character (the man) walking over them and picking up jewelries on their bodies.

Question 3: How are men and women portrayed in the music videos that were shown on Soundcity and Hip.TV between the periods of April to June, 2015?

Table: 7. Portrayal of women and men Cumulative Frequency Percent Valid Percent Percent Valid Vertical/Active 44 33.3 33.3 33.3 Horizontal/Passive 60 45.5 45.5 78.8 Both 28 21.2 21.2 100.0 Total 132 100.0 100.0 Source: Survey Although majority of the videos contain sexually suggestive dance, gesture etc., but how are women and men portrayed in the 132 sampled music videos? Table 7 suggests that they men are more portrayed vertically/actively while, women are portrayed passively. A further look into the findings on table 7 revealed that 44 (33.3%) of the total music videos feature men as active and vertical to women. On the contrary, 60 (45.5%) music videos present women as horizontal

(below) to men and as a passive being. Lastly, the remaining 28 (21.2%) videos view both women and men as passive/horizontal to men and active/vertical to women.

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Discussion This study carried out a content analysis of music videos that were aired on Soundcity and Hip.TV within the period of April to June, 2015. Some questions were also raised.

Consequently, results of analyses present implication and grounds for discussions. For instance, the first research question: What is the frequency of sexual themes and lyrics shown on

Soundcity and Hip.TV within the period of April to June, 2015? In answering this question, categories such as name calling and shaming, labeling of body parts and ‘sexual largess’ were used as variables for analysis. Over all, results revealed that the frequency of sexual themes and lyrics that are derogatory and subjugating to women were higher in all of the categories used in the analysis. This is consistent with studies mentioned elsewhere in the current study (Arachie;

Kimbrell; Lewis; Primack et al.) which found a high rate of degrading sexual references to women as sex objects, subjects, pleasers, properties, the weaker sex, faceless or lacking identity.

However, the study of Sommers-Flagana, Sommers-Flagana and Davis presented a contrasting finding; that both women and men were described in relation to physical objects.

The second question that borders on the frequency and underlying meanings of sexual images shown on Soundcity and Hip.TV within the period of April to June, 2015 generated both quantitative and qualitative insights. First, majority (65.2%) of the women in the sampled hip hop music videos appeared nude, while 24.2% appeared semi nude and the remaining (10.6%) appearing in reasonable clothing. The above finding is also in congruence with that of American

Psychological Association who found that women were portrayed as sexual objects and were also seen wearing revealing clothing. As to how both men and women are positioned, danced and moved, over half (69.7%) of the sampled hip hop music videos suggest that sexual activity of different magnitude. The remaining 30.3% however, did contain non-sexually suggestive 23 dance, gesture, move and positions by both men and women. In qualitative terms, men were seen in full clothing, standing as a united group, and playing important role, while, the women were seen not fully clothed, bending down (squatting or shaking their butt in front of the camera). This finding significantly touches on how the media help in reinforcing the idea that the status of men is far more important and higher than that of women. This finding also is consistent with the study of Goffman which concluded that women are weakened by advertising portrayals in five categories namely: relative size (women shown smaller or lower, relative to men), feminine touch (women were touching themselves constantly), function ranking (occupational), ritualization of subordination (proclivity for lying down at inappropriate times and places) and license withdrawal (women never quite a part of the scene, possibly via far off gazes).

The third question that guided the current study borders on how men and women are portrayed in the music videos that were shown on Soundcity and Hip.TV between the periods of

April to June, 2015. Result suggests that they men are more portrayed vertically/actively while women are portrayed horizontally/passively. Men were shown as the provider, the strong the rich and benevolent, etc. who is ready to do anything for the women – a portrayal that is in a sharp contrast with that of the women. This finding runs contrary to the study carried out by R.

Sommers-Flagana, Sommers-Flagana and Davis who found out that females were just as likely to be portrayed as “actors” as males. In contrast however, R. Sommers-Flagana, Sommers-

Flagana and Davis further found that females were significantly more frequently portrayed as recipient, passive than males in the videos. Altogether, result revealed that sexual themes, lyrics and images that are derogatory to womanhood are predominant in the analyzed music videos.

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Conclusion This study concludes that the Nigerian media through the medium of music places less value on womanhood. This tends to create and impress the idea that girls and women are more of a ‘giver’, ‘pleaser’ and so forth. There is need to, radically, change this system of thought as soon as possible.

Recommendation

Based on the findings from this study, we recommend that:

 key stakeholders within the music industry (especially the regulatory bodies) must wake

up to their responsibilities and move to action by not only issuing out bans on music

videos with sexually provoking contents, but must also carry out enlightenment on the

part of musicians/artistes on the need to discourage messages that degrade the status of

women.

 Musicians must also be duty bound to always inform the public by making clear warning

and caution the public to be weary of the content of their products as they (products or

videos) may not represent their (musicians’) interests. This move is to avoid

misinterpretation from the public.

 On the part of the government on the other hand, there should be renewed efforts to

improve laws that will control and check the influx and circulation of unwanted music

videos to the general public as majority of the already banned videos and songs still end

up enjoying air play on private T.V stations and other stations on satellite cables; the

internet and direct purchase from independent sellers and marketers. 25

 Finally, individuals must also become conscious of the inherent challenges that this

situation may pose towards the drive to attaining a society that is run based on gender

equality and high regard for women. Individuals must therefore be encouraged to

discourage all forms of media sexism and gender discrimination.

Limitations and Suggestions for Further Studies Although, the reliability of coders was established for the purpose of ensuring consistency in the study, one major setback lies in the area of validity. In addition to the above, is the limited sample size that was used for the study, therefore, the researcher suggests that further studies be undertaken in order to address the issue. Further studies may also want to consider the effects of these videos on women by means of assessing and evaluating self-reports from women.

Combined methods of research approaches may also be employed to elicit broader insights that this study could not access. Specialized advocacy research may also be encouraged to address the problems that this study may generate.

Note of Warning

The researcher wishes to bring to the notice of readers that the analysis and views generated from this study does not (in the knowledge of the researcher) represent the views and opinions of the artistes that were selected as samples for the study.

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Appendix 1

(A) (B)

(C) (D)

(A) Mr2kay and Cynthia Morgan in the video titled ‘Bad Girl Special’. Retrieved from www.getverified.com.ng (B) Davido, lots of cash, guns and video vixens in the video titled ‘Fans Mi’. Retrieved from www.vanguardngr.com (C) WizKid and one of the video vixens in the video titled ‘Expensive Shit’. Retrieved from www.vanguardngr.com (D) Davido and video vixens in the video titled ‘Fans Mi’. Retrieved from www.vanguardngr.com