Women playing men in Nigerian pop music

Pop music in the 20th century had its own turns and changes following such factors as the return of freed slaves, world wars and national independence struggles, but it did not reflect the significant involvement and participation of female exponents as influential stakeholders in the industry—at least in southern Nigeria which is the melting pot of Nigerian pop music, Lagos being the country's culture capital. It is fair to say female pop acts have more presence now.

Ideally, pop music culture—in and beyond Nigeria—reflects the social state of a people at different periods of their existence, considering the trends and happenstances of the evolving times. And socio-culturally in Nigeria, men solely initiated romance and romantic gestures towards women until recently when the smoke wisps of Euro-American matriarchy, feminism, role reversal, liberalism and so on began to waft into the Nigerian social space, thus radically influencing how some women view and approach these already established norms.

The entrenchment of man's dominance in romantic propositions can be seen in the numerous albums and singles released by male pop artists between 2000 and 2010 (the first decade of Nigeria’s independence from heavy reliance on modern American pop culture). With the rise of female pop artists in the Nigerian pop music circles since the beginning of the second decade of the 21st century, certain notions have received demonstrated challenges and subtle protest even when many do not notice, and so are rarely discussed or documented.

A quick check of Nigerian female pop artists that have emerged into the spotlight since 2010 gives us such talented ladies as Chidinma Ekile, Tiwa Savage, Yemi Alade, Simi and Niniola. These are already established or newly established. And I have, for quite some time, been examining the sociology, psychology and phenomenology of the lyrics (music scholars call it “texts”) of many songs authored or released by these acts. It seemingly appears that there is a consensus among these lady musicians to stealthily slither into the pop music turf with a mission of revolution. How so? From a consideration of their lyrics.

On 'Kissing', Yemi Alade sings:

You are my sunshine baby mo
Let us be as one
Make I be your baby...
You go be my man…
Munagige bi

Largely, to the Nigerian romantic sensibility, it is strange to have a woman say all of these to a man, especially such lines as "mu na gi ga-ebi”, which is the Igbo expression for “You and I will live together”. In reality, men are the ones who talk about living or cohabiting with a woman because she is moving into the man’s abode. Despite its seeming trivial nature, the line points to a quiet shift in perception.

Another song to consider is 'Joromi' by Simi:

I dey give you signal (Joromi)
Why you no dey see me ah (Joromi)
I give you green light tire (JoromiJoro)
Omokilon bubble o (Joromi)
Make you no dey fumble o (Joromi)
I go shoot my shot e o Joro

In the lines above, a variation of a woman boldly initiating romance is reflected. “Make you no dey fumble o” and “I go shoot my shot” are pressure statements aimed at the man's ego. Even if he has no such desire, he is being told to take the “first shot” or Simi's character will do so. You find this same idea in Chidinma’s 'Oh Baby (You & I)'.

It is common for a Nigerian guy to approach a Nigerian lady to say “I’m loving your way” as first attempt at charming her. But in Chidinma’s 'Oh Baby', the role is reversed. “Mu na gi ga-ebi” is repeated once more, signifying the appeal—by the woman—for an established union.

As reflection of the life of a people, pop music mirrors the society and is in turn influenced by it. Looking into these nuances is not just fun. No! It reveals to us how much our society has changed and is quietly changing in its psychology under the influence of pop music. And as more female artists emerge and climb the Nigerian pop music stage, the antecedents of these senior ones will inspire a foundation that might become a culture in a decade.

Of course, some bold women in Nigerian cities have and are already initiating romance and asking out men they admire but not on a wide scale. And recently, comments attending two videos on social media, where women propose to men shows the reversal of romantic roles still is a novelty. Liberals won’t have problems with such these social shifts but conservatives would.

It remains to be seen if Nigerian men, in their patriarchal inclination, would feel comfortable with having women initiating romance. But female pop artists who author songs suggesting such advances from woman to man are already heavily influencing the psyches of Nigerian women and their men.

The opinions expressed in this article are those of the author and do not necessarily reflect the views of Music In Africa.