This article explores
the cultural, social, and political significance of Nigerian female drummers
who challenge long-standing gender norms and reclaim traditionally
male-dominated musical spaces. Focusing on Aralola Olamuyiwa (Ara) and Blessing
Ibrahim (Starblessing), the study highlights how these women navigate cultural
expectations, religious restrictions, and institutional barriers to establish
themselves as respected drummers within Nigerian music traditions. Drawing on
theories of gender performativity (Butler), cultural entrepreneurship
(Swedberg, Gehman), and embodiment (Merleau-Ponty, Csordas), the article
positions drumming not only as a musical act but also as a site of resistance,
identity-making, and social transformation.
Through ethnographic methods including interviews,
digital ethnography, and performance analysis, the article uncovers the
strategies used by these drummers to assert their presence, build their
personal brands, and engage in cultural advocacy. Ara’s mastery of the talking
drum disrupts the Yorùbá cultural belief systems that have historically
excluded women from drumming due to spiritual taboos and patriarchal
ideologies. Her innovation in blending traditional rhythms with contemporary
styles has created a genre she terms “Gangan Fusion.” Starblessing, on the
other hand, has leveraged digital platforms to build a global following,
utilizing her technical skill on the drum set to assert authority and
visibility in genres like gospel, Fuji, and Afrobeats.
The article situates these drummers within broader
transnational movements that include women percussionists from Latin America
and West Africa. It argues that their careers exemplify the potential of
cultural entrepreneurship to drive both cultural preservation and social
change. By reframing musical spaces through performance and innovation, Ara and
Starblessing demonstrate how embodied musical practices can become powerful
tools of resistance and empowerment. Their work not only challenges the hegemonic
masculinization of rhythm but also contributes to global conversations on
gender equity in music and the dynamic evolution of African musical traditions.
