A Critical Discourse Analysis of the Representation of Women by Male Artists in Bongo Flava Music
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SAUT
Abstract
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This study aimed to do a Critical Discourse Analysis of the representation of women in Bongo
Flava music. The investigation based on the choice of words in the lyrics and the videos by male
artists in representing women. It focused on how the choice of words contributes to
stigmatization of Tanzanian women. It as well examined how BF videos represent Tanzanian
women and analyzed the perception of the public on the representation of women in BF music.
The study limited itself to five BF songs by male artists, released from 2008 to 2016. The study
used CDA, a theory which regards language as a social practice and considers the context of a
particular language to be very important. The research used a qualitative approach, purposively
selecting specific BF works. The researcher collected data through observation, transcription and
focus group discussions in which five BF songs by male artists were reviewed. Data were
qualitatively analyzed by focusing on the choice of words in the lyrics by using Norman
Fairclough’s three Dimensions of CDA and the videos by using Theo Van Leeuwen’s methods
of analyzing visual representation. The results of this dissertation present stigmatization and
oppression over women as an impact of values carried over by words and grammatical
expressions in BF lyrics by male artists. The videos represent women as immoral, sexual
instruments, decoration of videos for men’s pleasure, dependent and drug addicts. In focus group
discussion, it was revealed that the public are disappointed by the portrayal of women. They
detest the use of the impolite language to represent women as well as the way they design
immoral videos which actually spoils the image of a woman. The findings may benefit linguists
and scholars interested in understanding Critical Discourse Analysis.
Keywords
Bongo Flava Music