An Appraisal of Sexualized Language in Saint Janet’s Music by Olúyẹ́misí Adébọ̀wálé

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An Appraisal of Sexualized Language in Saint Janet’s Music

Prof. Tèmítọ́pẹ́ Olúmúyìwá

Adekunle Ajasin University, Akungba-Akoko, NIGERIA.

HTTP://DOI.ORG/10.33234/SSR.10.7

Abstract

It is considered uncultured for someone to discuss sex in the open in traditional Yorùbá society. But with the changes in the value system in contemporary times, the subject has found its way into Yorùbá music, particularly Jùjú music. Jùjú music is male dominated and the male musicians discuss sex from the patriarchal point of view in ways that demean the female gender and sexuality. The emergence of Saint Janet’s erotic lyrics into Jùjú music adds a new dimension to the music industry. It is against this backdrop that this paper examines sexualized language in her music. The paper shows that the use of language in Saint Janet’s music is a reaction to the stance of the nuances of the male musicians and how she juxtaposes the position of the female against the presentation of the male musicians to achieve a balance between both genders. The paper also reveals that Saint Janet’s obscene descriptions of sexuality in contemporary time is to enchant listeners towards understanding a satirical perspective of the male claim of dominance, to educate both genders about the danger of illicit and randy sexual behaviour, to caution against sexual immorality and to provide an unbiased view of sexuality.

Keywords: Jùjú Musicians, Sexuality, Language, Sex, Lyrics, Yorùbá

Introduction

Sex has been described as a natural motive force which brings two people into intimate contact, Ojo (2015, p. 38). Akíngbadé (2013, p. 41) believes that sex is the one activity a couple has that excludes other people. It is used for pleasure and the maintenance of sexual well being of the couple. In other words, sex exists to be enjoyed and practiced by married couples within a legal marriage. Therefore, pre-marital and extra-marital sex deviates from societal norms.

Sex is seen as a means to an end and not an end itself hence, it must be handled with every atom of carefulness, Akíngbadé (2014, p. 40). This perhaps explains why sex related topic has remained a very sensitive subject in the traditional Yorùbá society in South West Nigeria. Although teenagers do discuss sex, while some men do engage in sex talk in local bars and in other social circles, yet, the women are not allowed to discuss sex at any forum and whatever their feelings are, the society expects them to keep mute. However, there are special occasions in some Yorùbá cultures where the women talk freely about sex in the open. Example of such occasions is during Ògún Obìnrin traditional festival (Female dominated festival) in Àkúrẹ́, Oǹdó State capital, Nigeria. The young ladies involved in the festival do use the occasion to chant erotic poetry. The poetry is used for fun and to ridicule the men and example of such is:

Àbá mọ̀ mókó lọ̀ mí o ‘An old man ask me for sex

Òun lójú a tì He will surely be ashamed

Olókó ṣìnpìnní One with small penis

Abẹpọ̀n rírọ And withered scrotum

Òun lójú a tì He will surely be ashamed’

The culture and tradition of the people has been weakened by the influence of the western culture in contemporary Yorùbá society. This has led to the rapid violent changes in the value system, in spite of this, it is still considered uncultured for someone to use words related to sex in any discussion in the public. This not withstanding, the music scene in contemporary Nigerian society in general and Yorùbá society, in particular, are flooded with lewd laced lyrics. This, we assume prompted the Nigeria National Broadcasting Commission (NBC) to ban all music with lewd and vulgar expressions by enacting broadcasting codes in order to uphold the tenets of responsibility, good taste and decency. In spite of this, words once thought to be unspeakable in the society now make a regular appearance in Yorùbá music. Prominent among such music is Jùjú. According to Oluniyi (2014, p. 25), Jùjú music is a prominent popular genre performed mostly by Yorùbá people at social parties, such as, wedding, birthday, funeral, chieftaincy ceremonies among others. Juju music is a male dominated music genre. Early pioneer of the music include Rafiu Babátúndé King, Òjògẹ́ Daniel, Ọlátúndé Thomas ( Túndé Nigtingale) Fatia Rolling Dolar, Isaac Kẹ́hìndé Dáiró ( I.K Dairo), Àyìndé Bákárè, Adéolú Akínsànyà, Délé Òjó, Sunday Adéníyì Adégẹyè ( King Sunny Ade), Ebenezar Obey Fábíyi, Ìdòwú Anímásahun, Délé Abíọ́dún, Emperor Pick Peters, General Prince Adékúnlé popularized the music. Other notable Jùjú musicians include Shina Peters, Sẹ́gun Adéwalé, Dayọ̀ Kújọrẹ̀ and Yínka Ayéfẹ́lẹ́. There are other numerous local Jùjú musicians scattered in several Yorùbá towns. Notable among the few women in Jùjú music are Ọládùnní Decency (late), Ayọ̀ Balógun, Roseline Ìyábọ̀dé, Janet Ajilore (Saint Janet) and Fúnmilọ́lá Atẹ́wọ́gbọlá ( Queen Funmi).

Though many believe that St. Janet is a lewd singer, however, we opine that she is famous for her erotic songs because a critical examination of her lyrics shows that she is a musician who wants to assert her identity and sexuality. In asserting her identity and sexuality, St. Janet sings about herself, about women and she brings women into singing. Probably this makes her to sing about women and men genitals. According to Foucault (1978, p. 160) ‘Knowledge of sexuality is structured through the use of language’. It is against this backdrop that we want to examine how St. Janet uses Yorùbá language to assert her sexuality in her music. In doing this, we shall delve into to socio-semantic implication of her music.

Saint Janet (Biography)

Saint Janet’s real name is Janet Ọmọtóyọ̀sí Ajílóre. She is a native of Òṣú in Àtàkúnmọ̀sà West Local Council of Ọ̀ṣun State, Nigeria. Her stage name ‘Saint’ was given to her by her former boss, Los Kenge. Saint Janet obtained Ordinary National Diploma in Mass Communication at a Polytechnic in Abẹ́òkúta. She is married to Kayọ̀dé Samuel Iyùn. Her sobriquets include General Overseer of Saint Bottles Cathedral, Olórí Ẹbí, Màmá Yabis, Màmá ibẹ̀, Màmá Amúlùúdùn I. She has over twenty albums to her credit. These include Chicago Dance, Official Endorsement, Blackberry, Swaggerlicious, Olori Ẹbi, Star, Goldberg, All eyes on me, Lion’s Den, Faji @ 1, Faji Plus, South African Tonic, Knockout, Pasan, South African Big Girls, Rocky Night, St Janet Live, Ore Òjiji, Janet for Atiku, Stress Tonic and Up Osodi Day. Some of these albums are recorded live whenever she plays at organized social parties or on special occasion such as birthday parties, funerals and club anniversary. Due to this, some of her songs are repeated in many of the albums.

Sexualized Language in Jùjú Music

Any word or formatives making references to human private anatomy or description of sexual act is sexualized. So far, sexualized language has not been seen as appropriate for academic research in Yorùbá scholarship due to the complex and sensitivity of its nature. We however decided to delve into the subject in order to arouse the interest of other scholars to further investigate into the subject. Therefore, in the section, we shall examine sexualized language as it occurs in Jùjú music.

Like other African Cultures, Yorùbá culture is patriarchal in nature. It organizes sexuality around male pleasure. Yorùbá men simply believe they are naturally endowed with strength and vigor at giving pleasure to women during the sexual act. Just as Sabao (2013, p. 54) observes that interpersonal and group communication within Zimbabwean male youths interpellated women in their sociolects, at best as subject and at worse object of the sexual act; Jùjú musicians see men as active participants in the sexual act thereby, reduces women as mere recipients, being objects of oppression and exploitation for voyeuristic excitement in the male dominated Jùjú music genre. This is evident in the music of General Prince Adékúnlé, King Sunny Ade and Dayọ̀ Kújọrẹ̀ as explicated in the extract below.

(a)

Bótútù bá mú ẹ When you feel cold

Ko ké pológurò rẹ o Call on your girlfriend

Máa bọ̀ kó wálé To come around

Ológùró mì dákun o Please my girlfriend

Fún mi lọ́yàn mu… Give me your breasts to suck…

Fà mọ́ mi dàkun jọ̀wọ́ Please embrace me

Fún mi lọ́yàn mu… Offer me your breast to suck

General Prince Adékúnlé (Ayé ńretí ẹlẹ́yà)

(b)

What do you dì sáyà¹? What do you pack on your breast?

What do you have under?

Sweet banana sweet banana

Switch me on like engine

How do I win your love?

Sweet banana, sweet banana

Turn me on like radio

What do you dì sáyà? What do you pack on your breast?

Sunny Ade (Sweet banana)

(c)

Peperenpè Chocomilo o ti lọ wajù Pererenpè Chocomilo you are beautiful

Maradona honey honey o ti lọ wajù Maradona honey honey you are sweet

Ìpéǹpéjú ojú rẹ̀ lo ń wù mi o Your eye lashes entice me

Bẹ̀bẹ̀rẹ́ idi ẹ̀ ẹrẹbẹ o Your buttock is alluring

Ọ̀wọ́ irun orí ẹ ló ń wù mi o Your hair attracts me

Ṣìkìṣíkí ayà ẹ̀ ló ń pè mi wa, wa… Your breast arouse my interest

Dayọ̀ Kujọọrẹ̀ (Super Jet)

The sexist language used in extract (2) above is metaphorical. In (2a) the singer compared his girlfriend with Olóbùró- a beautiful animal with spotted coat. Unlike (2a) where crude reference to female boobs (ọyàn) is made, the singer in extract (2b) uses word craft to ask the lady what she packed on her chest and what she has underneath. In response to the questions, the singer likens the answer to his questions to sweet banana. One point to note here about (2b) above is that the last line which is a repetition of the first line is code-mixed, (mixture of English and Yorùbá codes).The Yorùbá code italicized is ambiguous. The phrase di sáyà ‘pack on your chest’ is taken from the pronunciation of word-desire /dizai¶(r)/. The sentence may also mean ‘what do you desire’. The ambiguity is part of the musician’s language dexterity to avoid been vulgar.

Similarly, extract (2c) liken the woman being described to Peperéǹpè, Chocomilo Maradona and Honey. Peperéǹpè is an active person in Yorùbá. Chocomilo is a type of sweet chocolate food drink. On the other hand, Maradona, an Argentine footballer was a delight to behold in a football match in his heydays. Just as honey, Maradona brings sweetness to his fans anytime he scores. What this sexist language shows is the bias of the male Jùjú Musicians against women by presupposing that women are mere object to be enjoyed in sexual act. Allied to this is the use of foul language by some Jùjú Musicians which undermine female sexuality. This is evident in scurrilous descriptions of female boobs in one of the lyrics of Dr. Orlando Owoh and Ṣẹ́gun Adéwálé as shown in the following extract:

(a)

Solo: Fifty kilo lọyàn ọmọge Ladies breasts is 50kg

Chorus: Lángbé jina o Lángbé (maize) is ready

Solo: Hundred kilò lọyàn méjèèjì Both breasst weigh 100kg

Chorus: Lángbé jiná o Lángbé is ready

Solo: Fifty kilò lọyàn ọmọge Ladies breasts is 50kg

Chorus: Lángbé jiná o Lángbé is ready

Solo: Aunty ọlọ́yàn pàńdọ̀rọ̀ Aunty with big breasts

Chorus: Lángbé jiná o

Dr. Orlando Owoh (E get as E be)

Ordinarily, the body weight of an average woman is between 70kg to 90kg. Therefore, each of the woman’s breasts cannot weigh 50kg as expressed in (3a) above. Likewise there is no way contemporary ladies can write letters with their nipples as shown in (3b) below.

(b)

… Ọmọge ìwòyí, Contemporary ladies

Wọn kì í lo bírò mọ́ They no longer use biro

Orí ọmú ni wọ́n fi ń kọ lẹ́tà… They write letters with their nipples

Gbogbo patá mi ti rẹ My pant is wet

Ṣẹ́gun Adéwálé (Evergreen Music)

However, a critical examination of (3) above depicts figurative imagery. A weighty breast devoid of any disease is ripe for suck just as cooked maize ‘lángbé’ is ready to be eaten. In similar manner, breast nipples of contemporary ladies may be alluring to men, especially when see through the blouse. The sexual imbalance in the sexist language as used by these Jùjú musicians is a reflection of the installed notion of male supremacy in Yorùbá society which underlines the fact that linguistic discourse in the society are inimical to female sexuality. For example the only verb used among the Yorùbá people for sexual intercourse dó as in ‘ó dó o’. (He had sexual intercourse with her). Adéwọlé (2005:13) has insertive/penetrative connotations as the man’s penis as an agent with the woman’s vagina as the object. This is made manifest in one of Délé Abíọ́dún music as excerpt below.

Àríyá ṣe létòlétò àúntí The act is going on as planned aunty

Àríyá ṣe létòlétò sisí The act is going on as planned young lady

Bí tibí bá wọlé, When this thing penetrates

Baby mi má fòyà, Fear not my babe

Èyí tó wọlé, That which penetrated and ejaculated

Ń bọ̀ wá dọmọ. Will surely fertilize and bring forth a child

Dele Abiọdun (Ẹlẹ́mu n get on)

Though extract (4) above shows that sex is penetration and ejaculation by the agent (man) and this must be endured by the object (woman). However, in order to avoid being vulgar, the singer uses euphemism such as tibí ‘something’ for penis; wọlé ‘enter house’ for penetration into vagina and eyí tó wọlé ‘that which enters’ for spermatozoa.

Likewise, the noun formed with the verb dó : ò dó ọkọ → ọ̀dọ́kọ̀ ‘a promiscuous woman’ support the notion of male superiority. It connotes that it is the woman who had sexual intercourse with man. Even the euphemistic verb phrase bá sùn as in ó bá a sùn ‘He slept with her’ used in place of dó still objectifying women. As our discussion has shown, linguistic discourse in Yorùbá society is organized around male pleasure where women are depicted as agents to satisfy men’s lustful desire. The Juju Musicians such as King Sunny Ade, Dayọ Kujọrẹ̀, Shina Peters among others, carry over this sexualized stereotypes into their music. Although none of them made use of the verb dó and the verb phrase bá sùn in their lyrics, they however use other linguistic/stylistic variants to describe sexual act, female body and sexuality.

King Sunny Ade uses sexualized language more than any Juju Musicians. But he is very novel in his use of sexualized words. His choice of words is considered decent, polite and at times, not too direct. For example, in order to hide something discomforting in extract (5) below, he uses obfuscating phrases. He uses onítibí ‘somebody’ for òbò ‘vagina’ and omi òòjọ́ ‘fresh water’ for àtọ̀ ‘sperm’ That explains why none of his sexualized tracks is labeled NTBB (Not To Be Broadcast) by NBC.

(5)

…Number tí ò gbọ́dọ̀ já lọmọ àná yẹn 1 …the lady’s gesture is sure/certain

Banker tí ò gbọ̀dọ̀ já lọmọ àná yẹn 2 it is sure the lady can’t fail

Bó ti n fojú bá mi wí ló ń fojú sọ̀rọ̀ 3 she lures me with her eyes

Bó ti ń fojú sọ̀rọ̀ ló tún n ́ fojú bá mi wí 4 she communicates and seduces me with her eyes

Èmi nìkan ló le yé o, ìwọ ò le gbọ́ 5 I am the only one that understands, you cannot hear

Èmi nìkan ló le yé ìwọ ò le mọ̀… 6 I am the only one that understands, you cannot know

Onítibí bá mi lálejò, n óò ti ṣèyí sí 7 the vagina is my guest, what do I do?

Kì í jẹyán kì í jẹ̀rẹsì àfomi òòjọ́ 8 it doesn’t eat pounded yam or rice but sperm

Omi ladùn omi ṣororo, òjò wẹliwẹli… 9 the semen and the vagina fluid mix, the wetness and excitement

Yéèpà! Iná piti! 10 waoh! Great action!

Iná pẹlẹbẹ! 11 fast-paced activity!

Talẹ́ òní á yàtọ̀ 12 tonight sex will be special

Tìdájí ò ní ṣe é kó 13 that of the early hours will be unspeakable

Ká jọ máa yáta yàà yo 14 both will enjoy the sexual act

Yòò ya… háà, ẹ gbe ń lẹ̀ 15 what a great act…kick start it.

Sunny Adé (Ẹ fálábẹ léwé)

Despite his language manipulation and flexibility in stylistic choice, King Sunny Ade’s sexualized tracks still undermine female sexuality. For example, lines 3-4 in extract (5) above show that it was the lady that made sexual overture to the man. Also, lines 7-9 show that it was the lady that craved for sex. Likewise, the imagery described in lines 10-13 depicts the picture of sexual action between the woman and the man who dictates the pace of the action. The musician however ends the lyrics of sexual act with images of sexual pleasure and satisfaction for both actors as shown in line 14-15. However, this has not eroded the pivotal role of dominance described in lines 3-13.

In order to avoid social disapproval, the sexist language used in extract (6) below by King Sunny Ade in Check ẹ also shows the use of obfuscating phrases wa mọ́tò ‘drive a car’ and rọpo si ‘fuelling the car using nozzle’ to describe the sexual act between the man and the woman.

(6)

Ìyá ló ń wa mọ́tò, The mother drives

Yes, Bàbá ló ń rọpo si Yes, the father fuels it

Látọrun lọkùnrin ti lóyún sínú, The man is endowed with unborn babies from heaven

Wọ́n délé ayé ni wọ́n n bi fóbìnrin… Getting to earth, they release the unborn babies to women…

The extract above ends with the patriarchal cultural baggage in Yorùbá society when it comes to the issues of sex as wa mọ́tò ‘drive a car’ and rọpo si ‘fuelling the car using nozzle’ has the penetration and ejaculation connotations mentioned earlier in extract (4). The implication of this is that without the man, the woman can not have children; forgetting that it takes both to procreate. Also in Jealousy, Sunny Ade objectifies the female actor in sexual act as object of enjoyment. He uses euphemism kèngbe wàrà ‘milky calabash’ to substitute for female boobs in order to make unmentionable thing mentionable. Consider extract (7) below.

(7)

Ṣeré fún mi baby, ayò, ayó Play for me babe, game, gamer

Tayò fun mi baby, ayò, ayó Play with me lady, game, gamer

Sisí, Kèngbe wàrà, Young lady, with milky calabash

Ó láta súẹ́súẹ́. That is full of peppery delight

In similar vein, the view that women are object to be enjoyed by men in the sexual act is expressed in extract (8) in Shina Peters’Ace and Dayọ̀ Kujọrẹ’s Easy Life. Shina Peters in (8a) below says the oroǹbó ‘oranges’ on the chest of the lady is sweeter than ọsàn ‘oranges’. Ọsàn and oroǹbó are synonymous in Yorùbá. In order to be decent the singer substitutes oroǹbó for ọyàn ‘breasts’.

(8a)

Mo rọ́mọge tó rẹwà tó dúró sẹpẹ́sẹpẹ́ I see a beautiful young lady with good grace and gait

Figure eight sẹpẹ́sẹpẹ́, figure eight Good figure eight shape, figure eight

Òròǹbó ayà ẹ̀, ó dùn ju ọsàn lọ Her breasts are sweeter than oranges

Shina Peters (Ace)

(8b)

Ẹ má bá n dùú, nǹkan mi ni Don’t contest her with me, she belongs to me

A kì í bá yínmíyínmí du mí No one contests the feaces with dung fliess

Nǹkan ròǹdẹ̀rondẹ Something rotund

Nǹkan gbàgìsọ̀rọ̀ gbagisọrọ Something long and straight

Ẹ̀lẹ̀ yìí o, tèmí mà ni Certainly this lady belongs to me

Dayọ̀ Kujorẹ (Easy Life)

Instead of referring directly to the male and female sexual parts, the singer in (8b) switched to the use of certain expressions such as nǹkan ròǹdẹ̀rondẹ ‘something rotund’ for female breasts and nǹkan gbàgìsọ̀rọ̀ gbagisọrọ ‘something long and straight’ for penis.

The implication of the extract (8 a) above is that women exist to satisfy men’s sexual urge. Also, extract (8 b) above suggests that men assume the subject position and speak out their desire of women thereby subjecting women’s body and sexuality to their needs.

Women breasts (ọyàn/ọmú in Yorùbá) have been a major site of reference in Jùjú music. Jùjú musicians coined different words to represent it in their music. Such words include ‘two pointers, oṣòdì-òkè, ṣìkìṣíkí, ọsàn, òrom̀bó and ẹrọ amìjìnjìn’ These Jùjú Musicians also coined words for buttocks. Such words include ‘back, bọmbọ and Ìkébè’. Finally, Sunny Ade’s language manipulation has helped him to describe sexual act in some of his albums without being vulgar. Consider the following lyrics in (9).

(a) Ọ̀rẹ́ bá bá jẹun tán Friends when we are through with a meal

Ka fúnra lómi Let us water each other

Ka gbétan léra Let us put laps on laps

Ka wá ṣeré ọmọ… Let us play games to make babies

(Aríyá Special)

(b) …Ká ṣáà fọwọ́ wọ́nú Let us just fondle each other

ká jọ ṣeré ìfẹ́ Let us have sex

Eré ìfẹ́ dára The sexual game is good

Eré ìfẹ́ gbádùn The sexual act is enjoyable

Eré ìfẹ́ dùn yùngbà The sexual game is very sweet

Ṣe bọ́mọ la ó fi bí… We will make babies out of it…

(My Dear)

Fàkàfíkí fàkàfiki Locomotive reactions and sounds

Ayé ò rí làágùn ọkọ lórí aya…No one sees how the husband sweats on the wife..

(Check ẹ̀)

In the lyrics in (9) above, the singer uses obfuscating phrases to describe the sexual acts contain therein. The phrases include ṣeré ọmọ ‘play games to make babies’ in (9a), ṣeré ìfẹ́ ‘play love games’ in (9b) and fàkàfíkí fàkàfiki (locomotive reaction/sounds). The singer uses these phrases to neutralize the negative offensive connotations associated with the mentioning of the sexual act in Yorùbá.

We observe that in (9) above, both actors in the sexual act described in extract (9a) and (9b) above mutually enjoyed the pleasure derivable from the act. However, the connotation in extract (9 c) creates the picture of the rider and the ridden where the man’s organ (subject) rises and sinks inside the woman’s organ (object). The use of language in describing sexual act as shown in the extract is vague. It depicts sex as a punitive and painful act to be endured especially by the recipient. However, sex is a thing to be enjoyed so Ola-Samuel (2016, p. 13) opines that sex must give a couple maximum pleasure and best satisfaction. As the foregoing has shown, the patriarchal culture in Yorùbá society is embedded in the language use of the male Jùjú musicians. The use of sexist language observed in their music depicts that women are without desires. Their language also fragments female body which made them sing about what they considered as adorable pieces.

Sexualized Language in Saint Janet Music

Sexualized language in Jùjú music described in the preceding section is male centered. It reflects sexual imbalance in the linguistic discourses of male Jùjú musicians which has become unilateral, monolithic and biased against female sexuality. Female are denied control over their body and sexuality. This inhibits them from exploring their body and verbalizing their sexuality. This we assume, propel Saint Janet reject male’s patriarchal domination in Jùjú music by stepping out and rediscover her sexuality, language and discourses. Her action contradicts the customary Yorùbá view that a woman should surrender her identity, freedom and personality to men. Saint Janet’s rejection of men as having sexual hegemony as shown in male Jùjú music ensnares her style of Jùjú to be labeled lewd. But one can not really blame those who labeled her music as lewd because her choice of words is daring, explosive and sexually explicit.

Saint Janet departs from the practice of sexism that characterizes the music of male Jùjú musicians. She sings sexually balanced songs where she mentioned both male and female in her music. As a matter of fact, she always put herself in men position whenever she wants to sing about women. Consider extract (10) for some examples.

10.

(a)

Èló ni o san fọ́mọ ẹ̀lẹ̀ yẹn? How much did you pay?

Èló ni sisí yẹn gbà? How much did that girl collect?

Èló ni o san fọ́mọ ẹ̀lẹ̀ yẹn? How much did you pay?

Tó fi sun sílé rẹ That made her sleep in your house

(b)

Èmi o mọ o, èmi o mọ̀ I don’t know, I don’t know

Ọ̀gangan, ọ̀gangan, The exact place, the exact location,

Ibi tí n bá fi fọ́nrán mi sí. Where to insert my penis.

(c)

Àtùpà laiṣe, éè gbọdọ̀ ku o A lantern must not go off without haven given light

Okó abẹ́ rẹ, éè gbọdọ̀ kú rárá… Your penis must not go weak

Ìkẹ̀kẹ̀ laiṣe, éè gbọdọ̀ já rárá Your waist beads must not break

Ọmú àyà rẹ éè gbọdọ̀ já rárá… Your breast must not fall flat

(d)

Òkè kan ga jòkè… Hẹn ẹn! Buttocks are in sizes… oh yes!

Ìdí Lady tí ò rọ̀ mọ́ The buttocks of the lady you clung to

Ó tóbi tó terin… (American Swagger) Is as big as that of an elephant

Despite her reference to both male and female sexuality as shown in (10) above, Saint Janet’s music is not totally devoid of sexist language. The men penis (okó) has been a major reference site in her lyrics. She uses different demeaning terms for penis. Such words include iṣan ‘muscle’, fọ́nrán ‘tissue’, pọ̀nrán ‘tissue’, ìgò ‘bottle’, igi ‘stick’and kóńdó ‘rod’. She however uses fair derogatory euphemic words for viginal. Such words include awọ, ‘leather’, abẹ́ ‘underneath’ kiní ‘something’, ìsàlẹ̀ ‘underneath’ and ìdí ‘buttocks’. Sometimes in her music, she made crude reference to private anatomy such as okó ‘penis’ ẹpọ̀n ‘scrotum’ òbò ‘vagina’ ọyàn/ọmú ‘breast’.

Unlike male Jùjú Musicians who did not use the verb dó and verb phrase bá sùn to describe sexual act in their lyrics, Saint Janet uses the two terms in some of her lyrics. Extract (11) is example of such use.

11.

(a)

Ẹyin tóyìnbó ti dó rí ọwọ́ yín dà? May those who have had sex with white men raise their hands?

Ẹ jẹ́ ká rọ́wọ́ yín o. Let us see your hands raised

Ẹyin tẹ ti dó oyìnbó rí ọwọ́ yín dà? May those who have had sex with white women raise their hands up?

Ẹ jẹ́ ká rọ́wọ́ yín o. Let us see your hands raised.

(Paṣán)

(b)

Mo ṣì má bá ẹ sùn…láyé I must certainly have sex with you… in this life

A ṣì má bára sùn…láyé We must still have sex together… in this life

A ṣì má dó ra wa…láyé We must still fuck ourselves… in this life

(c)

Kò lè dó ’kó, kò tún lè faaṣan, She cannot have sex, she can play with penis

Ó wá ń ṣe sìmẹ̀sìmẹ̀ bí alaáìdókó rí. She acts sluggishly as if she never had

(Blackberry)

Looking at (11) above critically, Saint Janet believes that sexuality should be organized around both male and female. She opines that sexual act is a two-edged act where both actors can be agent and/or object in the act as shown in (11 a-b). In (11a), it is the man that sex the woman, therefore, the woman is passive and at the receiving end. However in (11b), both actors (men and women) are active participants in the sexual script. In (11 c) Saint Janet believes that man can also be a toy in the hands of woman thereby objectifying man in the sexual act. Here, the man is passive due to the positioning in the sexual act.

Besides, there is a general perception in contemporary Nigeria that most Edo ladies are prostitutes, especially those that traveled to Italy, Abọ́dúnrìn (2016,p. 26). Saint Janet uses this perception to pun on dó as it affects Edo people. Consider (12) below.

12.

Ṣé ẹ rọ́ràn àwọn ọmọ Edo Look at Edo people

Dó ti pọ̀jù nínú ọ̀rọ̀ wọn. The issue of ‘dó’ pervades their words

Bí wọ́n bá maa wí, wọn á ní Whatever they say, they will say

Bàbá do, mama do, Father fucks, mother fucks

Auntí do, uncle do Aunty fucks, uncle fucks

Bọ̀ọ̀dá do, sister do Brother fucks, sister fucks

Ẹgbọ́n do, àbúrò do Elder fucks, younger fucks

(Stress tonic)

In Edo, do means ‘well-done’ A critical examination of (12) above shows that Saint Janet is of the view that the verb do should not be attached only to men sexuality and satisfaction inYorùbá. In as much as the verb can be attached to both female and male in Edo, same should be applied to its meaning in Yorùbá. Aside do other verb coined by Saint Janet to describe sexual act include rún ‘crunch’, wó ‘flop/demolish’, lò ‘use’ lá ‘lick’ as it occurs in (13) below.

13.

…Má do ẹ, má lá ẹ … I will fuck you, I will lick you

Má ló ẹ, má rún ẹ I will use you, I will crunch you

Má wó ẹ, inú ẹ a yọ bọnbọ… I will have you, then your belly will protude

(American Swagger)

The use of the verb lá, ‘lick’ lò, ‘use’ rún ‘crunch’ and wó ‘have’ is synonymous with dó ‘fuck/sex’ in the extract. Sometimes however, Saint Janet could describe sexual act without using the verbal expletives in (13). Such description is shown in (14) below.

(14) Ó fún ẹ ni something He gave you something

Íyáwó ọrẹ́ ẹ, o gbe sẹ́sẹ̀ẹ Your friend’s wife, you lapped her

Ó tún rẹ́rìn-ín, And she even smiles

Ló bá fà ẹ́ mọ́ra And even drags you closer

The preceding paragraphs of this section have shown that Saint Janet’s description of sexual act display a gender contest and expression of gender power against the notion that portrayed men as having sexual hegemony.

The Socio-Semantics Implications of Saint Janet’s Music

Language is the primary tool we use to perform hundred of tasks in a typical day. Actions which are performed by the use of language are regarded as speech acts, Finegan (2004, p. 296). Speech acts components include the utterance itself and the intention of the speaker in making it. The actions the speakers perform in uttering a speech may include informing, promising, requesting, warning and swearing. Saeed (2009, p. 30) opines that part of the meaning of an utterance is its intended social functions. Therefore in this section, we shall examine the use to which Saint Janet’s music is put in order to understand her lyrics and appreciate her musical ingenuity.

In Stress Tonic Saint Janet says her music is for stress relief for her teeming fans. While this may be so, a critical appraisal of her lyrics shows that there are other social functions that the erotic lyrics perform in the society. For example when men engaged in sex talks in Yorùbá society, they express the pleasure derived from the sexual act as well as extolling their prowess and dexterity in the acts, Salawu (2011, p. 39). The norm of the society forbids women with similar experience and sensation to express their feelings. Saint Janet uses some of her lyrics to arouse women to express their sensational experience in sexual act as shown in (15) below.

15.

Ọkọ́ mi lalẹ́, ọkọ́ mi lóru My husband at night, my husband at midnight

Ọkọ, ọ̀kọ̀ ọkọ kú iṣẹ́. Husband, husband, husband well done

Ìyanu to ṣe lábẹ́ mi ló mi lójú, The wonders you performed under me is marvelous

Mo dúpẹ́ iṣan ọ̀sán, I appreciate the afternoon treat

Mo dúpẹ́ iṣan òru, I appreciate the night treats

Iṣan rẹ tí kìí rọ̀ nìgbẹ́kẹlé mi Your manhood that doesn’t go limp is my trust

Ìyìn ògo yẹ ọ́ o, You deserve praises and worship

Bó ṣe wó mi lóru àná yẹn, As you banged me last night

Ni ko máa ṣe. So must you continue to do

(Faaji Plus)

The extract above shows a woman expressing her appreciation and her sexual feelings to her husband. However, not all sexual acts give satisfaction to women. Some sexual acts are clumsy, Akingbade (2014, p. 40) in which the women may need to endure. Saint Janet uses her lyrics to buttress this fact as shown in (16) below.

(16)

Bọwọ mi bá wa lọ́yàn ẹ If my hand is on your breast

Bẹ́nu mi wà ní ẹnu ẹ, If my tongue in your mouth

Ti something mi wà nísàlẹ̀ And my something is inside you

Ṣáà rọọjú dúró má yẹ̀ dí Just exercise patience and don’t shake me off

Dúúró, rọ̀jú dúró má yẹ̀ dí Wait, exercise patience and don’t shake me off

Dúróó, ṣáà rọjú dúró má yẹ̀ dí Wait, just exercise patience and don’t shake me off

(Faaji Plus)

In similar vein, she advises men to be gentle in sexual act as shown in (17) below.

Bókó bá le lálejù, á ṣẹ́yún If the penis’ erction gets too hard, it will cause miscarriage

Bókó bá le lálejù á ṣẹ́yún If the penis’ erction gets too hard, it will cause miscarriage

Bọ̀ọ̀dá rọra ṣé! Brother do it gently

Bókó bá le láléjù á ṣẹ́yún If the penis’ erction gets too hard, it will cause miscarriage

(Faaji Plus)

Erectile dysfunction is a common phenomenon among men. At least, about thirty percent of married men suffer from it at one stage or the other of their life, Ola-Samuel (2013, p. 16). While some get over it, others are not. Saint Janet uses one of her lyrics to advice men having the ailment to take local herbs to boost their libido. Consider this in extract 18.

Ẹyin boys, You boys

Ṣó ṣi ń le? … ó ń le. Does it still grow erect?… It’s erect

Bí ò bá le If it is not erect

Ẹ rí mi lẹ́yìn ìsìn, See me after the service

Eléré ń ta jẹ̀dí The musician sells pile portions

Eléré ń ta ọ̀pé ẹ̀yìn, The musician sells spinal portions

Ale wà, Erectile portions available,

afàtọ̀ wà, Low sperm count portion available

ọ̀pá ẹ̀yìn wà Spinal cord portion available

Ẹ tún le test ẹ̀ And you can even test

In contemporary Yorùbá society, immodest dressing is relative and sexist, Olúmúyìwá (2014, p. 36). As Ìṣọ̀lá (2013) puts it ‘globalization has adversely affected the looks of our women.’ Many Yorùbá women, young or old now dress provocatively. They go about in skimpy clothes that expose chest and thigh. This we assume, made Saint Janet to sing the lyric in extract (19) below.

(19)

Kí ni bẹ láyà rẹ tó n jì woroworo? What is on your chest that is shaking enticingly?

Ọmoge ìwòyí, a mú ni commit Contemporary ladies will make one commit

Kí ni bẹ láyà rẹ tó n jì woroworo? What is on your chest that is shaking enticingly?

The lyric was used to advice those women who dress provocatively to always dress well. However, Saint Janet advised men ‘who gaze at the expose erogenous zone to lust after it’, (Igboin and Awoniyi 2006, p. 58); to stop the act. She sings to respond to the question in (19) as follows:

(20)

Ọyàn ló n bẹ láyà mi tó jì woroworo. The breast on my chest is what is shaking

Bọ̀ọ̀dá ìwòyí lo ní wòkúwò. Men of this age are lustful lookers

Ọyàn ló n bẹ láyà mi tó jì woroworo. The breast on my chest is what is shaking

In another development, Saint Janet, exposes one of the things that most young Nigerian men do in order to get ‘stay’ papers to become citizens abroad. Consider this in extract (21).

(21)

Ó ní láti jẹ̀dí o You must have sex

Ó ní láti jẹ̀dí Akáta. You must have sex with white women

Ó ní láti wọ̀dí o You must penetrate

Ó ní láti wọ̀dí Akátá You must penetrate the white woman’s vagina

Ọmọ Òṣogbo tó bá fẹ́ di citizen For an Òṣogbo to become a citizen

Ó ní láti jẹ̀dí Akáta He must have sex with white ladies

In Extract (21) above, Saint Janet warns those aspiring to become citizens of other countries about the mess they may find themselves.

Rapes, unwanted or unplanned pregnancy and sexually transmitted diseases are major barriers to girls’ education in Nigeria. Armed with this fact, Saint Janet in one of her songs advises young ladies to be weary of sexual overtures from men. This is shown in (22).

(22)

(a)

Kí ni erè ẹ nígbà tí bọ̀bọ́ pè ẹ́ What is your gain when a guy calls you

Ki ni ere ẹ̀, jọ̀wọ́ sọ fún mi What is your gain, please tell me

Kí ni eré ẹ̀ nigbà tí bọ̀bọ̀ rún ẹ̀ What is your gain when the guy had sex with you

Héé oyún, oyún lèrè ẹ Yes, pregnancy, pregnancy is your gain

(b)

Tètè wá nǹkan ṣe sọ́rọ̀ oyún mi bọ̀bọ́, Quickly do something about my pregnancy

Tètè wá nǹkan ṣe sọ́rọ̀ oyun mi o Quickly do something about my pregnancy

Mo ṣẹ́yún ṣẹ́yún gbogbo ifun ló ti já I committed abortion upon abortion and my intestines are week

Mo lòògùn lòògùn mo darúgbó ọ̀sán gangan I used pills over and over again to the extent that I have aged

Tètè wá nǹkan ṣe sọ́sọ̀ oyún mi. Quickly do something about my pregnancy

(Stress Tonic)

(c)

Nítorí náà má lọ jó ní kọ́nà Because of this don’t go to dance in a hidden place

Kọ́n má lọ rún ẹ mọ́lẹ̀ So that you don’t get raped

Tó bá lọ jó ní kọ́nà If you go to dance in a hidden place

Wọ́n á dàdàkúdà síbẹ̀ They will ejaculate disease into you

Ẹyin baby ẹ lọ ṣọra Be careful you ladies

(Knock out)

In extract (22, a-b) above, Saint Janet warns that sex becomes dysfunctional when it is associated with negative and unintended outcomes such as unwanted pregnancy and abortion which may have adverse effects on the women’s integrity and career. In (22 c), Saint Janet advises young ladies to always avoid solitary places so that they will not be sexually abused.

Yorùbá patriarchal culture allows the practice of polygamy if a man so desire but forbids a woman to have more than one husband. This is clearly demonstrated in one of Ebenezer Obey’s lyrics as shown below.

23.

Gbogbo ọkùnrin tó láya sílé All men that have wives at home

Tó tún wa lọ ní girl friends But still have girl friends

Báya tile bágbọ́ tó bá lọ bínú If your wife hears about it and gets annoyed

Ó yẹ ko lọ́gbọ́n àgbà fun You must act like and elder and pet her

Bo bá lọ́gbọ́n àgbà fun bí ò bá gbọ́ If you act like an elder by petting her and she is adamant

Ó yẹ ko lògbójú fun. Then you must use bold face

Àní nítorí kíni? Burt why?

Àní nítorí pé That is because

Àwa ọ̀kùrin lè láya mẹ́fà, kò burú We men can marry six wives, there’s not bad about that

Ọkùnrin kan ṣoṣo lọba Olúwà mi God ordains only one man

Yan fóbìrin… For a woman

(Aiye wa a Toro)

The lyric above advises the husbands to be audacious if and when challenged by their wives for having extra-marital affairs. Despite the privilege granted men in the Yorùbá society to marry many wives, even at that some promiscuous men still have unprotected sex with other women outside marriage, and through that they contact sexual infections. Saint Janet advises the wives of such men to ostracize him as in (24).

24.

Ko yáa tẹní ẹ̀ sọ́dẹ̀dẹ̀ fun You better lay his bed for him in the open

Ko yáa tẹ́ní ẹ̀ sọ́dẹ̀dẹ̀ fun. You better lay his bed for him in the open

Bọ́kọ ẹ yanlè, If your husbands fornicates,

bó bá lọ kátọ̀sí o If he contacts sexually transmitted disease

Ko yáa tẹ́ni ẹ̀ sọ́dẹ̀dẹ̀ fun You better lay his bed for him in the open

Saint Janet also uses some of her lyrics for religious discourses. First, she uses of her lyrics to give sermon to a professed child of God that indulge in fornication. She sings thus:

(25)

Ọmọ Ọlọ́run tó n jẹ̀dí A child of God who is fornicating

Ta lo fi jọ? Who is your mentor?

Ọmọ́ Ọlọ́run tó n jẹ̀dí A child of God who is fornicating

Ta lo fi jọ Who is your mentor?

Tó n jẹ̀dí That is fornicating

Ta lo fi jo… Who is your mentor?

(American Swagger)

Second, she uses some of the lyrics to pray for some of her fans, especially those that ‘spray’ – spend some money on her. Examples of such lyrics are:

(26)

(a)

Ìwọ ni yóò máa jànfàní abẹ́ ayà ẹ You will be the one to benefit from your wife’s private part

Ìwọ ni yóò máa jànfàní abẹ́ aya rẹ You will be the one to benefit from your wife’s private part

Ẹni ẹlẹ́ni ò ní gbàṣe rẹ ṣe, No one will take your place

Ìwọ ni yóò máa jànfàní abẹ́ ayà rẹ. You will be the one to benefit from your wife’s private part

(American Swagger)

(b)

Má jẹ́ ó fọ́ lábẹ́ ẹ o It will not burst under you

Kó má mà fọ́ lábẹ ẹ o It will not burst under you

Omi ẹpọ̀n rẹ, omi ẹpọ̀n ẹ The fluid in your scrotum

Kò ní fọ́ lábẹ́ ẹ o Will not burst under you.

(Stress Tonic)

Finally, sex is seen as source of power and expression of gender superiority, Salawu (2006). In Yorùbá society, masculinity has always been linked to strength and feminity to fragility. To debunk this notion when it comes to sexual act, Saint Janet asked some of the men before him rhetorically in one of her songs if they can go for ten rounds of sex. She asked thus:

(27)

Ṣé ẹ ó le ṣe? Would you be able to do it?

Ṣé ẹ ó lè ṣẹẹméjì? Would you be able to go for two rounds?

Ṣé ẹ ó lè ṣẹ̀ẹ̀mẹ́fà? Would you be able to go for six rounds?

Ṣé ẹ ó lè ṣẹ̀ẹ̀mẹ́jọ o? Would you be able to go for eight rounds?

Ó dáa, ṣé ẹ ó lè ṣẹẹ̀mẹ́wàá? Okay, would you be able to go for ten rounds?

Saint Janet uses (27) to reject the notion of men’s dominance in sexual contest. She believes that their power is limited to few rounds of sex when compared to what women can tolerate.

So far in this section, we have been able to show that Saint Janet uses her lyrics to ascribe sexual behaviour patterns based on gender in her Juju music.

Concluding Remarks

The Yorùbá culture where Jùjú music originates and practice is patriarchal in nature, it pursues sexual themes around the male gender as strong and vigorous in sexual activity. This patriarchal view is expressed in some lyrics of the male Jùjú musicians in ways that demean the female sexuality and identity. Saint Janet music is a reaction to the linguistic discourse of male Jùjú musicians which are inimical to female sexuality. She uses her music to question the male super ability and dominance in sexual act by arguing that both genders have equal rights in the game. It is evident that her seeming praise of the sexually immoral is only satiric as well as an inverse converse advice towards doing right. Her use of vulgar language is targeted at enticing a vulgar audience towards paying more attention to issues surrounding sexual relations so as to ensure that they get educated.

References

Academic Publications

Adéwọlé, L.O. (2005). A Bilingualized Dictionary of Yorùbá Monosyllabic words. Akure: Montem Paperbacks.

Finegan, E. (2004). Language: It Structure and Use. Thomson Wadsworth.

Foucault, M. (1978). The History of Sexuality, Vol. 1: An Introduction. London: Allen Lane

Igboin, B. and Awoniyi, S. (2006). Perspective on University Dress Code. Ibadan: Day Star Press

Ìṣọ̀lá, A. (2013). What Really Do we want with Yorùbá language? 4^th Convocation Lecture, Adekunle Ajasin University, Akungba-Akoko.

Ojo, M.O.D. (2013). Magun: The Traditional Juju for Punishment of Adultery Among Yoruba Natives. Antropologija 13 (sv3) pp131-142).

Olumuyiwa, T. (2014). An Examination of Humorous Communication in Selected Yorùbá Comedy Films. AJOLL, Vol.5. (pp 27-40)

Oluniyi, M.O. (2014). Origin and Development of ‘Directing’ in Jùjú Music Performance. Journal of Music and Danced, Vol. 4. (3) pp.25-33.

Sabao, C. (2013). The Sexual Politics of the Female Body in Contemporary Zimbabwean Youth Sociolects in Interpersional Communicative Context. Journal of Pan African Studies Vol. 5 (10) pp 80-88.

Saeed, J.I. (2009). Semantics. Wiley-Blackwell.

Salawu, A. (2011). Breaking the Culture of Mute Sensation: Female Expression of Power in sexual Contest with Men in Yoruba Newspapers. Journal of Social Sciences 27(1) pp 39-51.

Articles in Newspapers

Abodunrin, A. (2016). Arts & Culture: How I became Italy First Black Cinderella. Sunday Tribune, March 13, 2016 p. 26

Akingbade, F. (2013). Sex & Sexuality: Which is better, Basic instinct or Learned sex? Saturday Punch, October 26, 2013 p. 41

Akingbade, F. (2014). Sex & Sexuality: What Men and Women Think after sex. Saturday Punch, March 15, 2014 p.40

Ola-Samuel, B. (2013). Intimacy: Your hubby has weak erection? Please, help him. Saturday Tribune, October 12, 2013 p.16

Ola-Samuel, B. (2015). Intimacy: Bedroom habits that can ruin marriage. Saturday Tribune, March 14, 2015 p 13

Ola-Samuel, B. (2016). Intimacy: Understanding the Place of sex in marriage. Saturday Tribune, January 9, 2016 p.13

C Discography

Abiodun, D. (n.d). Elemu n get on Lagos: Olumo Records Ltd.

Ade, S. (n.d). Ariya Special Lagos: Ademola Records Ltd.

Ade, S. (n.d). Check e Lagos: Ademola Records Ltd.

Ade,S. (n.d). E falabe lewe Lagos: Ademola Records Ltd.

Ade, S. (n.d). Jealousy Lagos: Ademola Records Ltd.

Ade,S. (n.d). My Dear Lagos: Ademola Records Ltd.

Ade,S. (n.d). Sweet Banana Lagos: Ademola Records Ltd.

Adekunle, P. (n.d). Aye n reti eleya Lagos: Mut-Moksons Trading Company.

Adewale, S. (n.d). Evergreen Lagos: Lucky Music Nigeria Enterprises.

Janet, S. (n.d). Chicago Dance Lagos: Mosbak Music & films

Janet, S. (n.d). Official Endorsement Lagos: Ewenla Films & Records Int.

Janet, S. (n.d). South African Big Girls Lagos: Aiky Vimtek Ventures

Janet, S. (n.d). Up Oshodi Day Lagos: Sir Dollar Films & Records

Janet, S. (n.d). Blackberry Lagos: Galaxy Music

Janet, S. (n.d). Swaggerlicious Lagos: Bayowa Films and Records

Janet, S. (n.d). Olori Ebi Lagos: Al-Quadus Music

Janet, S. (n.d). Star Lagos: Al-Quadus Music

Janet, S. (n.d). Goldberg Lagos: Al-Quadus Music

Janet, S. (n.d). All Eyes on Me Lagos: Al-Quadus Music

Janet, S. (n.d). Lions Den Lagos: Alright Music Int.

Janet, S. (n.d). American Swagger Lagos: Galaxy Music

Janet, S. (n.d). Knock Out Lagos: Aiky Vimtek Ventures

Janet, S. (n.d). South African Tonic Lagos: Aiky Vimtek Ventures

Janet, S. (n.d). Janet for Atiku Lagos: Alright Music Int.

Janet, S. (n.d). Faaji @ 1 Lagos: Solution Music & Film

Janet, S. (n.d). Pasan Lagos: Aiky Vimtek Ventures

Janet, S. (n.d). Stress Tonic Lagos: Galaxy Music

Janet, S. (n.d). Ore Ojiji Lagos: Goodness & Mercy Entertainment

Janet, S. (n.d). Rocky Night Lagos: Solid View Music

Janet, S. (n.d). Saint Janet Live Lagos: Al-Quadus Music

Kujore, D. (n.d). Easy Life Lagos: Macod Communication Ventures.
Kujore, D. (n.d). Super Jet Lagos: Macod Communication Ventures.

Obey, E. (n.d). Aye wa a toro Lagos: Ebenezer Obey Music Co.

Owoh, O. (n.d). E get as e be Lagos: Jola Osho Records Co.

Peters, S. (n.d). Ace Lagos: Master Sound Music Company.