Dialogues et entretiens dauteur (Écrire lAfrique) (French Edition)

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Secondly, it is also rendered to a wife who is denying her husband sexual intercourse. In all the cases when the song is rendered to insinuate divorce to mark the end of conflict scenario.

Hence, a typical song like the above could be rendered in order to provoke and intimidate a particular housewife to initiate divorce in order to prove the wife wrong. At times they do not mind the consequences.

A similar song purview similar thought, as stated below. There is the possibility that the man in question is overshadowed out of his misdemeanor and no one should have the wife blamed for what she has not caused. In a similar sense, morose appearance of the imprisoned man cannot solve the problem, it will only add to her sorrow that she might be internalizing.

In this case, the housewife sees the suspect around, instead of waging physical combat; she results in fighting with words. In this context, the woman who wants to snatch her husband is regarded as a foolish person. The render of the song sings to castigate the suspect telling her that her husband is dead, which she eupheminised as been in heaven. To the woman, heaven symbolizes free world where there are men that are free. The implication is that her identity is constructed by her roles and forces she confronts.

She is negotiating her space and identity as a domineering figure in her matrimonial home. This at times results into a serious conflict and violence in case there is any challenge. She respects and recognizes herself as distinct in order to achieve uncompromised self-esteem, self-worth and self-love. At the same time she believes that there should be justice, truth, righteousness, order, and equity, among others, in order to have a well-balanced society and homes. This view agrees to that of Dove The contention of the render of song number six above is that womenfolk should not compete and struggle over a man; instead, there should be a reordering of the norm that kills and disorganizes homes-polygyny.

It is clear from the song no. Hence, at any instigation of asunder in motherhood, women in polygynous households result to altercation by songs to dislodge the intruder. If the intruder is desperate, she too replies with explosive song as seen below 6b , thus precipitating violence. Not only this, she maintains that whatever pleasure that any other woman derives from her husband is a waste and to her bonafide wife advantages. That is not to deny the fact that there are still people going into it. Also, many men who are legally married to a single woman of their choices either in the church or mosque might still have concubine s outside the wedlock.

In a situation when this is known to the legally married woman she flares up both against the concubine if known to her and against her husband. Instead of castigating the man who has broken the cord of marriage covenant he made with the wife, the wife at times is regarded abnormal. In many instances, this can even result into physical and mental torture; and at times the wife can be beaten by her husband.

Of course, the question to ask is how many people have been melded together? When two fractious persons assert their conflicting wills and desires, it results into arguments and verbal assaults in the minimal. Rivalry between two or more wives of the same husband causes women to sing this kind of song below. Violence is a contest of endurance arising from freeing self from enslavement, oppression and repression, resulting into varieties of existential disorders.

The rendering of the above song by a co-wife signifies that she rejects marriage structure that serves as a threat to her existence and vitality. In other words, it is a subtle way of challenging the old idea of polygyny that is culturally regarded as crucial to womanhood and motherhood as patricentrically constructed. This suggests that self-love and regard for cultural norms must be employed in other to allay the tension within the domestic domain.

There is an outpouring of her mind with a high sense of assertiveness in her bid to achieve a distinct and complete identity of her own. This is clearly evident as she challenges her co-wife in the song. This song provokes and at the same time sensitizes the victim in this context to work hard and become economically viable and independent; since they are already enslaved by patriarchy.

Among the co-wives, domestic violence, or better put violence in marriage generally starts with small conflicts due to ego problems. This in many instances results into verbal attacks in which one abuses the other or both abuses each other to the extent that they are both psychologically depressed and tortured. The above woman also uses the medium not only to assert a definite identity of a wealthy and comfortable woman she also uses it to inculcate spirit of discipline and contentment into the other co-wife as a sister in the spirit of sisterhood.

Tale bearing is unprofitable; as it hinders one from fruitfulness, it also engenders strife. Hence the addressee is being told to diagnose her problem correctly in order to seek redress. But such a senior co-wife who is a talebearer could be satirized or lampooned by the junior wife or other senior wife within the compound with a song like the one below. She recognizes her need for a genuine connection between women, one that support her in her search for solace in time of need, and offers insight in time of confusion Hudson-Weems This contradicts the observation of Fadipe Our observation coincides with that of Aronson Direct abuse by co-wives is seen in the songs below no.

A word might be stigmatized and serve as a negative social marker in any context Labov This tally with the observation of Aronson that polygyny has been linked to a number of problems and calamities. He proves further that if any misfortune befalls a child within the family, the jealousy of a co-wife may be suspected as the cause. At times, the co-wives can go to the extent of blackmailing themselves of being witches, pointing accusing fingers on one another, hence leading to distortion of identity.

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It is true that the Africana Womanist respects and appreciates elders but if any of the co-wives perceives that either the male family head or the female family head is partial such woman reacts in verbal dialogue to show her resentment against the judgment made by the elders. Two of such songs are excerpted below. The first one no. Whenever there is outburst of hostility from any of the co-wives in a polygynous marriage it might involve outsiders together with the family heads to make a meaningful resolution.

Resolving issues like this is usually made possible due to verbal dialogue of vituperative songs. At the same time, other housewives who consider a particular housewife as going too far in handling a matter can be satirized, especially when such housewife abused the family head; which is usually regarded as a taboo by the culture.

Personal problems of different kinds are believed to be caused by the jealousy of enemies within the clan or household. In most cases, their identity might not be known except through divination, and solving such problems might involve preparation of certain traditional charms and or sacrifice. But, rivalry and jealousy among the co-wives are usually believed as the origin of such problems. To this end, everything is done beginning from the time of marriage to ward off all futuristic and anticipated problems that might arise from polygyny.

For example, a particular song was recorded at the time of traditional engagement ceremony that is like an incantation against all perceived anticipated enemies of a new bride. The song goes thus:. For example, in a research carried out by Aronson it was evidential that husbands disciplined their wives without the intervention of neighbors, unless the neighbors judged that the punishment exceeded the crime Aronson And this can trigger physical violence because whatever one says matters to oneself and his or her listeners.

It is a form of action. The importance of spoken word in language use has even been noted by Adegbite Hence, the housewives that render the kind of song above no. This is nothing other than what Rowland The Africana Womanist demonstrates a sense of spirituality, a belief in higher powers that transcend rational ideals, which is an ever-present part of African culture. And through this belief negotiation is made by verbal rendition of potent speech, otherwise called incantation.

Even, in the highly remote villages and settlements the types of songs analyzed in this paper are still in operation due to the maintenance of the traditional kinship system. But in this case, those that involve in using verbal dialogue to vituperate are usually wives of husbands from the same descent or clan who live together in a single house or building, usually called family house. In her work, Hudson-Weems also remarked that she is aware of professional, competitive, and emotional violence among the black women.

She then suggests that black women should pay much attention to nurturing sensibilities as to their ambition and that the consequences of fulfillment should be to discover that every woman is important. However, in modern marriage, bigamy and adultery are prima facie for dissolution of marriage. Hence, wives compete to gain favors for their own children. The children of co-wives are raised together but they usually grow apart due to quarrels over possessions and inheritance. Conflicts arise in polygyny in two directions. Firstly, the senior wife legitimatizing her space in contest with subsequent wives.

Secondly, the junior wife wants to displace the senior wives. The two actresses confront three problems: Thus, in the class of these genres are matrimonial violence songs establishing action and reactions as recourse to violence in polygynous households. At times, this results into physical abuse and battery within the household.

This is because their marriage contracts are well consolidated unlike the contemporary society where fundamental human rights have disintegrated the kinship ties, values and heritages. Hence, the co-wives songs are used to pursue, among others, the reordering of social perspectives, interpersonal relationships and gender power-relations in their society.

Through verbalization of these songs each of them externalizes what should be the ideal for her. Women fight their daughter-in-law in order to support her son in a bid to fully secure her space matriarchy in her matrimonial home. It must be mentioned however that there are certain instances of performance of housewives songs when they concertedly heightened sense of solidarity against all forms of oppressions and intimidation against their womanhood within a patriarchal constructed society.

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This indicates that there is need for more microscopic research on domestic violence in order to proffer solution to this socio-cultural monster. O ppong , M. Facts and Fallacies Westport, Connecticut: The Early Modern Legacy Philadelphia: University of Pennsylvania Press. A Narratography of Victorian Fiction Chicago: University of Chicago Press. Hudson -W eems , C.

Reclaiming Ourselves Troy, MI: Peter Lang International Academic Publishers. University of Pittsburgh Press. Ofie -A boagye , R. University Press of Florida. Women against Violence Kano, Nigeria: The Mythology of the American Frontier, Middletown: Et ainsi de suite dans chacun des huit pays!

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Le documentaire est ainsi un moyen de la faire partager. En ce moment je fais du film industriel: Cela pose une multitude de questions. Autant de tentatives de trouver les moyens de formuler. Comment observer chez moi? Donc, je choisis mon regard et mon point de vue. Je demande au spectateur cet effort. Je continue depuis 25 ans.

On peut certes utiliser des subterfuges. On peut me parler de structure et si le film fonctionne ou pas. Mon travail existe sur la version dvd. Oui, car on ne va sans doute plus travailler ensemble!

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