Browsing by Author "Adenuga Tayo Joan"

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    A STUDY OF TIMAYA'S BUM BUM (REMIX) AND THE FEMALE BODY AS OBJECT OF DANCE IN NIGERIAN MUSIC VIDEOS.
    (Department of Theatre and Film Studies, Nnamdi Azikiwe University, Awka, Anambra, Nigeria., 2025-02) Adenuga Tayo Joan
    Dance is a popular form of artistic expression distinguished by the unique use of the human body to perform agreeable movements to a given rhythm. Even though existing studies have discussed the context, form, sociology and relevance of dance to a large extent, not too many studies have explored the use of the female body as object of dance in Nigerian music videos. Through a content analysis of Bum Bum (remix), BBR, by Inetimi Alfred Odom, popularly known as Timaya, featuring Sean Paul, this study examines the instrumentality of the female body with the objective of underscoring active components used to present it as object of dance in the music video. We leverage on Mulvey's (1975) male gaze theory and Fredrickson and Roberts' (1997) objectification theory. Music title, lyrical composition, visual expression and filming techniques were discovered as channels of presenting the female body as object of dance in Bum Bum (remix) ft. Sean Paul. We recommend a more artistic approach to dance especially in music videos without turning the female body to objects of sexual pleasure and desire. This study suggests that regulatory bodies should be more interested in the composition of dances and the use of the female body in Nigerian music videos before they are pushed out for public consumption.
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    CULTURAL HYBRIDITY IN IWOLORI RITUAL DANCE OF EKINRIN-ADDE QUEENS
    (Zain Publications, 2025-03) Adenuga Tayo Joan
    This study examines the under-researched area of women-centered ritual performances within Indigenous African communities, with a specific focus on the cultural hybridity evident in Iwolori ritual dance of Ekinrin-Adde queens. While broader African ritual practices have received scholarly attention, women-specific rituals remain significantly under-explored. This study therefore illuminates the processes of cultural blending and modification that have resulted in new expressive forms in Iwolori, thereby ascertaining the elements of hybridity in the ritual dance. Drawing upon Homi Bhabha's (1994) theory of hybridity, this study employs a descriptive research design to analyse the form and composition of Iwolori. Data were collected through semi-structured oral interviews with selected Ekinrin-Adde queens, traditional chiefs, and community members. Non-participant observation of the Iwolori ritual dance was also employed as method of gathering data. Findings revealed that dynamic negotiation of tradition, modernity, and female agency are the principal elements of hybridity responsible for the emergent cultural expressions in Iwolori, which have profoundly shaped the cultural landscape of Ekinrin-Adde community. This study contributes to a deeper understanding of the complexities and significance of women's cultural expressions in Africa. It recommends the continued documentation of women-based practices, rituals, and performances across Africa to promote global recognition and foster interdisciplinary scholarly engagement.
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    Feminist Pedagogy in Performance Training: Analysing Gender Norms in Teaching and Practice.
    (Department of Theatre and Film Studies, University of Port Harcourt, Choba., 2024-06) Adenuga Tayo Joan
    Feminist pedagogy, an approach to teaching and learning, incorporates feminist values and principles to create a more inclusive, equitable and empowering educational environment. Although, existing studies have extensively examined traditional pedagogical models and their effectiveness across disciplines, the unique contributions and transformative potential of feminist pedagogy as a transformative framework for teaching and learning remains under-explored. This study therefore, investigates the application of feminist pedagogy within performance training environments, examining its potential to challenge traditional gender norms and power dynamics. Drawing upon Carolyn Shrewsbury's concept of liberatory learning environments, this study explores how feminist pedagogical principles can empower female performers, create inclusive learning spaces, and foster equitable participation among learners. Utilising a qualitative research approach, data was collected through online questionnaires administered to female lecturers who were purposively selected for their gender and long-term experiences in performance teaching and practice. Findings indicate that while some respondents were familiar with feminist pedagogy, its principles were often applied intuitively within teaching practices by others. This study underscores the importance of explicitly incorporating feminist pedagogical principles into performance training programs to create more equitable and inclusive learning environments for all students, regardless of gender identity.
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    From Celebration to Objectification: Analysing Korra Obidi’s 2025 International Women’s Day Instagram Dance Video
    (College of Humanities Gregory University, Uturu, Abia State, 2025-04) Adenuga Tayo Joan
    This study examines Korra Obidi’s 2025 International Women’s Day (IWD) dance video, posted on her Instagram page on the 8th of March 2025. Although previous studies have discussed female body representations and its implications in diverse creative works, the elements of objectification in short dance videos, intended to commemorate special celebrations, have been scantily explored. This study therefore moves beyond surface-level interpretations of celebration to explore the potential for objectification within the visual and performative content of Korra Obidi’s IWD dance video. Employing an interpretive research design and utilising content analysis as the primary method of research, the study scrutinises the video's composition, framing, and performative elements to discern the construction of female body objectification and its relation to the viewer's gaze. The theoretical frameworks underpinning this exploration are Laura Mulvey’s (1975) Male Gaze Theory and Barbara Fredrickson and Tomi-Ann Roberts’ (1997) Objectification Theory. Findings suggest that despite the video’s ostensible celebration of female bodies, it exhibits strong elements of objectification. The pronounced emphasis on specific body parts, coupled with the performative display of sexualised dance movements, constructs a visual narrative that prioritises the female body as an object of consumption. This study reveals how the video, while superficially intended as a celebration of women, inadvertently reinforces objectifying gazes, and potentially perpetuates objectification of female bodies within the digital sphere through certain visual and artistic elements. The study contributes to the ongoing scholarly discourse on the complex interplay between female agency, representation, and the pervasive gaze in contemporary digital culture, particularly within the context of celebratory performances intended to signify women empowerment.
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    GENDERED PARTICIPATION OF WOMEN IN DANCE EDUCATION IN NIGERIA
    (Department of Theatre and Media Arts, Federal University Oye-Ekiti,Ekiti, Nigeria., 2024-04) Adenuga Tayo Joan
    Dance as an art form is being taught in many Nigerian universities in departments with such nomenclatures as Performing Arts, Theatre Arts, Creative Arts and Dramatic Arts. Dance learning and tutoring is pivotal to the overall knowledge of any performative art because of its connection with other art forms. It has however been generally observed that the number of women, who study and teach dance in Nigerian universities are relatively few compared to men. This in itself is a gendered position that we find worthy of scholarly mention especially because very scanty attention has been paid to it in previous studies. This study therefore examines the gendered positioning of female dance scholars in Nigerian universities with a view to ascertaining their number and factors responsible for the gendered experiences they go through that leads to fewer participation of women in dance teaching and learning. Key informant interviews and focus group discussions were adopted as methods of gathering data, while the interpretive design was used. Gender stereotypes, culture dynamics, modernisation, inadequate curriculum benchmark and low-income capacity were discovered to be the factors debarring women from pursuing and advancing formal dance education in Nigeria. Dance is a lucrative art, yet many women are limited by certain experiences that hold them back from attaining heights that their male counterparts have achieved. We encourage an all-inclusive dance curriculum that will capture latest dance styles and trends, so that emerging female dance scholars can explore diverse areas of dance beyond academic learning, to capture current realities. This paper also suggests that more studies about women in dance education should surface so that gender stereotypes limiting women can be properly discussed for the advancement of scholarship.
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    INDIGENOUS WOMEN LITERATURE: A STUDY OF EKINRIN-ADDE TRADITIONAL MARRIAGE RITES
    (Federal University Birnin-Kebbi, 2021-03) Adenuga Tayo Joan
    This paper examines the traditional marriage rites of Ekinrin–Adde as an indigenous art form performed for and by women to bring about social integration. Several studies have emerged on how women play peculiar roles in different areas of the society in Nigeria. However, there are artistic roles of women that feature prominently in the performance of the traditional marriage rites of the Ekinrin-Adde people which condition it as a resource material for research. Ekinrin-Adde community is in Ijumu local government area of Kogi State, North-Central Nigeria. In recent times, traditional marriage rites in many Nigerian communities have been modified and are perceived as mere social events. Many customary activities have been short changed or replaced. Meanwhile, a lot of artistic elements are inherent in every stage of these traditional marriage rites as there are in Ekinrin-Adde. The objective of this study therefore is to examine the artistic composition of traditional marriage rites in Ekinrin-Adde and the roles women play in the process to foster social integration. This work will employ two methods of research. The descriptive method; explaining the performance style of traditional marriage rites in Ekinrin-Adde and participant observation method through which this research will unveil every detail about the stages of performance of each of the rites. Facts about the origin, performance style, taboos and the effects the rites have on the society will be found out through this medium. Among other findings, this work discovers that traditional marriage rites in Ekinrin-Adde is highly dramatic and fosters social integration. The roles women play is not just artistic, they are also sociologically therapeutic. This study hereby recommends that scholars, researchers and critics should approach indigenous art forms of different Nigerian communities as literature, exploring performance theories and their effects on the society.
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    Sexualisation and Objectification of the Female Body in Contemporary Nigerian Music Videos: An Analysis of Bounce by Rema
    (Theatre and Film Studies Department, Faculty of Humanities, Rivers State University, Nkpolu-Oroworokwu, Port Harcourt., 2025-01) Adenuga Tayo Joan
    This study examines the sexualisation and objectification of the female body within contemporary Nigerian music videos, focusing on Bounce by Rema. While existing scholarship has explored diverse representations of women in various artistic mediums, the specific mechanisms of female body sexualisation and objectification within this context remain under-researched. Employing Laura Mulvey's male gaze theory as the framework, this study utilises critical content analysis to investigate how visual and lyrical elements, including camera angles, costuming, choreography, and lyrical content, are strategically employed in Bounce to objectify women and reinforce patriarchal norms. Findings reveal that these techniques contribute significantly to the perpetuation of harmful gender stereotypes within the Nigerian music industry. This study underscores the need for a critical and conscious approach to music video production, encouraging filmmakers to prioritise ethical and respectful representations of women that challenge harmful stereotypes and promote gender equality.
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    Social Integration of Women in Se’Wa-Tan Festival of Twins in Ekinrin-Adde
    (Department of Theatre and Film Studies, University of Port Harcourt, Choba, 2023-06) Adenuga Tayo Joan
    Social integration, the process where various individuals and groups come together to form a unified society, has been identified as one of the dimensions to communal growth and development in any given society. Although, existing studies have discussed different fragments of social integration in diverse areas of human endeavour, the expanse of women’s contribution towards achieving it has been scantily explored. This study, therefore examines social integration of women in S’ewa-tan festival of twins in Ekinrin-Adde community, with a view to identifying key components of social integration used by women to perform their roles significantly during the festival. Emile Durkheim’s theory of social integration was adopted as framework for its accuracy and relevance to the study, while the descriptive design was used. Key informant interviews were conducted as primary source of gathering data, while non-participant observation method of research was employed as secondary source. Se’wa-tan festival of twins in Ekinrin-Adde was discovered to be an all-women affair as the constitution of its participants are mothers of twin babies in the community. Three major components of social integration were identified to foster women’s participation in Se’wa-tan festival. They are, inclusion, participation, and justice. Inclusion is demonstrated by the automatic membership and immediate enrolment of every woman who gives birth to twins within Ekinrin-Adde community. Participation is evident in the allocation of duties to individuals and clusters of women during the festival. Justice plays out in the method of money sharing and allocation of membership dues. Even though every member pays the same amount of money as dues, the manner in which the money made during the festival is shared is usually fair and just. The combination of the three key components of social integration evident in Se’wa-tan, contributes to peaceful co-existence, social interaction, growth and development in Ekinrin-Adde community.
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    SOCIO-CULTURAL SYMBOLISM AND FUNCTIONS OF EGBO AMONG EKINRIN-ADDE WOMEN
    (Theatre and Film Studies Department, Faculty of Humanities, Rivers State University, Nkpolu-Oroworokwu, Port Harcourt., 2025-02) Adenuga Tayo Joan
    Egbo is a special facial bead that has great cultural and traditional significance among the women of Ekinrin-Adde, a Yoruba-speaking community in Kogi State, Nigeria. Its use is deeply embedded in two critical cultural ceremonies: Iwolori; the procession of queens and traditional marriage festival; Igbeyawo. This paper explores the functions of Egbo as a symbol of femininity, tradition, and socio-cultural values in Ekinrin-Adde, with a view to ascertaining its symbolic essence and significance to Ekinrin-Adde women. Oral interviews and field observations were adopted as methods of gathering data, while relevant literature was adequately consulted. This study leveraged on Ernst Cassirer's (1953) theory of cultural symbolism and the descriptive design was used. Findings revealed that, beyond its aesthetic appeal, Egbo symbolises royalty, marital honour, sacredness, and collective identity. The analysis also reflects on how modernisation, religious influences, and shifting social norms have reshaped its relevance among younger generations. This study recommends the advancement of scholarship in women related cultural symbols. This will help to further project their socio-cultural relevance and establish their symbolic essence in the society.
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    SOCIO-CULTURAL SYMBOLISM AND FUNCTIONS OF EGBO AMONG EKINRIN-ADDE WOMEN
    (Theatre and Film Studies Department, Faculty of Humanities, Rivers State University, Nkpolu-Oroworokwu, Port Harcourt., 2025-02) Adenuga Tayo Joan
    Egbo is a special facial bead that has great cultural and traditional significance among the women of Ekinrin-Adde, a Yoruba-speaking community in Kogi State, Nigeria. Its use is deeply embedded in two critical cultural ceremonies: Iwolori; the procession of queens and traditional marriage festival; Igbeyawo. This paper explores the functions of Egbo as a symbol of femininity, tradition, and socio-cultural values in Ekinrin-Adde, with a view to ascertaining its symbolic essence and significance to Ekinrin-Adde women. Oral interviews and field observations were adopted as methods of gathering data, while relevant literature was adequately consulted. This study leveraged on Ernst Cassirer's (1953) theory of cultural symbolism and the descriptive design was used. Findings revealed that, beyond its aesthetic appeal, Egbo symbolises royalty, marital honour, sacredness, and collective identity. The analysis also reflects on how modernisation, religious influences, and shifting social norms have reshaped its relevance among younger generations. This study recommends the advancement of scholarship in women related cultural symbols. This will help to further project their socio-cultural relevance and establish their symbolic essence in the society.
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    THE FEMALE ACTOR AND LONGEVITY QUESTION IN THE NIGERIAN MOVIE INDUSTRY; REGINA ASKIA AND JOKE SILVA IN COMPARISON
    (Stirling-Horden Publishers Ltd, 2016) Adenuga Tayo Joan
    This paper examines the acting life span and period of relevance of a female actor in the Nigerian movie industry. Just as the art of acting cuts across different age groups and tribes; it is also not limited to any gender classification. Life expectancy in the field of acting in Nigerian home videos therefore cannot be predicted or ascertained since the factors that determine the existence and relevance of each actor vary from person to person. Generally speaking, acting life and period of relevance of female actors in Nigeria have been observed to be shorter than that of their male counterparts, hence the essence of this study. This work compares two female Nigerian actors whose acting lives vary. The actors are Regina Askia and Joke Silva. Questionnaires and oral interviews are the methodologies employed in this work. This study finds out from different audience members of home videos in Nigeria how much of the two female actors mentioned above they know. Questions like ‘who stayed longer in the industry’ and ‘who is still relevant’ among other questions will be answered in this research. Furthermore, factors that reduce the life span and relevance of female actors in Nigeria will be found out through these methods. This work has observed that acting life and period of relevance of female actors in Nigeria are relatively short. It has also discovered that female actors make a lot of efforts to sustain their relevance and increase their life span in the movie industry within which they pass through many challenges which sometimes affect them negatively and pose threats on their acting career. This study hereby suggests that the image of female actors in Nigeria should be boosted through scholarly research; this will help present their art to the larger society in a more meaningful way than it is being perceived and gain more acceptance for their art. It will also assist in sustaining their period of relevance as long as they wish to practice. Furthermore, academic writings should x-ray areas of concern like challenges facing female actors in Nigeria and proffer possible solutions to them. This will help the confidence of women in the acting profession and encourage them to improve on their skills and compete with their peers all over the world.