Peace and Conflict Studies
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Item Portrait of Yoruba aesthetics in Saheed Osupa's fuji music(2018) Samuel, K. M.; Ogunrinola, M. A.This paper examines how the subject of Yoruba aesthetics is constructed in the performance and works of Saheed Osupa, a prominentfuji music exponent in Nigeria. The study adopted discographic research approach and used purposive sampling technique to select Omoge, a track on Osupa's music album entitled Reliable. Recorded materials were transcribed and subjected to thematic and structural analyses. Ambivalences of postcolonial cultural production expressed in Omoge are marked ways by which Saheed Osupa's desire and clamour for character of beauty: a notable canon of Yoruba aesthetics are constructed. Textual analysis reveals a form of antinomy as signified by the way the musician tend to place a greater emphasis on dressing and artificial beauty than paying attention to a lady's good character, which is a more culturally acceptable inner form of beauty. Musical elements in Osupa’s works undulate between its through-composed formal structures to repetitiveness as a prominent compositional device. The paper stresses the futility in trying to separate the subject o' beauty from other well established virtuous attributes which the Yoruba hold so dear.Item Musical figuring of postcolonial urban segmentarity in Wasiu Ayinde's fuji works(AJAH PUBLICATIONS, Ghana, 2016) Samuel, K. M.In this paper, I gleaned from Gilles Deleuze and Felix Guattari’s concept of segmentarity to examine the how postcolonial urban forms of social segregation and marginalization are figured in selected musical works of WasiuAyinde - a prominent fujimusician.The study adopted semi ethnographic design. Purposive sampling technique was used to select two tracks from different albums by Wasiu Ayinde, namely, ‘Kl’on the album Fact and ‘Action Congress’on the album Promising, where the artiste portrays the challenge of urban social conditions such as poverty, unemployment, epileptic power supply and so forth which are largely stratified along class distinction. In the work - Fact – Ayinde represents his criticism of the type of maladministration that characterized President Obasanjo's civilian regime between 1999 and 2007, particularly the ruler's failure in redressing inequality and the widening segregations between different classes of people. I argue that although the musician shows a strong desire to eliminate this postcolonial urban segmentarity and marginality, he, nevertheless, also performatively participates in maintaining and reproducing it. This is based on the musician's ambiguous responses to similar conditions, especially when viewed against his eulogy of, and collaboration with the then major opposition political party, Action Congress, widely criticized for its ineptitude in political governance.