GENDER PERSPECTIVES IN RECENT NIGERIAN DANCES: THERAPY, PSYCHOTHERAPY OR SEXPLOITATION?

Abstract

Although dance is a universal act, a reflection of structures, interpersonal and gender relations within a society, it is a dynamic act with different types, coming from different cultures all over the world. It is an act that has influence on both the performer and the audience. The performer could execute dances to express personal joy which could be seen as expression of gift or a voice, with audience appreciating it (non-commercial), or for commercial purposes, or to serve as a form of therapy and/or psychotherapy for the audience, a service that is treasured. The study examines dance behaviours in recent times in Nigeria where mostly the commercialised ones are telecast as affirmation, representation, and sometimes transgression of gender identities; it compares men’s and women’s roles in modern dance practices; and explores how dance and gender relate to issues such as commodification, which gives room for sexploitation of females, who are usually represented as sex symbols and who dance with passion for male gender benefit. The paper engages Laura Mulvey’s gender/sexuality film theory of ‘Visual Pleasure’ to identify and analyse why female figures are constantly portrayed as erotic object for male figures in video films, and for the spectators, the viewers. It finds that while women’s sexuality is concentrating at fulfilling men’s desires through sensual and sexually explicit performances and prostitution, men maintain their own sexuality with dignity. The paper recommends that dance could be used to enhance human resources development. It denounces the negative uses and extols their deployment for responsible uses. It advocates that the female gender should resist being sexually exploited.

Keywords: gender, Nigerian dances, therapy, psychotherapy, sexploitation