A STUDY OF TIMAYA'S BUM BUM (REMIX) AND THE FEMALE BODY AS OBJECT OF DANCE IN NIGERIAN MUSIC VIDEOS.
| dc.contributor.author | Adenuga Tayo Joan | |
| dc.date.accessioned | 2025-03-17T12:12:43Z | |
| dc.date.available | 2025-03-17T12:12:43Z | |
| dc.date.issued | 2025-02 | |
| dc.description.abstract | 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. | |
| dc.identifier.issn | 3043-4270 | |
| dc.identifier.uri | https://kwasuspace.kwasu.edu.ng/handle/123456789/4813 | |
| dc.language.iso | en | |
| dc.publisher | Department of Theatre and Film Studies, Nnamdi Azikiwe University, Awka, Anambra, Nigeria. | |
| dc.title | A STUDY OF TIMAYA'S BUM BUM (REMIX) AND THE FEMALE BODY AS OBJECT OF DANCE IN NIGERIAN MUSIC VIDEOS. | |
| dc.type | Article |