Is the Funaab Music Space unfair to Female Artistes?

The name Ayra Starr, does it ring a bell? I mean the superstar signed to Mavin’s Record. The frontiers of female excellence have never been this formidable in the history of Afrobeats. With multiple international and local accomplishments and recognition, what a time it is to be called a woman. One impact of the explosion of Afrobeats as a genre and music culture is its ripple effect on smaller ecosystems like our campuses, inspiring another generation of songsters and showing success is not just unrealistic but attainable by any who wishes to work for it.

The Federal University of Agriculture, Abeokuta is witnessing progress in the music and creative spaces, a phenomenon that amazes many due to its accomplishments within a short time. However, the same community that renders shelter and opportunities to many is seemingly unfair to female artistes. To say this is just a mere conjecture will prove to be an eyewash since all available data alludes to the fact that female artistes have in more ways than one been alienated from the same community they work to be a part of.

The 2023/24 Academic section witnessed over 110% increase in demand for musical performances from the student-artistes, with the females receiving less than a 15% share, while their male counterpart enjoyed the larger returns of this spike in demand. One could make the argument for the males having better performers, but such audacious brag begins to fall apart when one considers singers like UYI — who was dubbed the Funaab Adele due to her exceptional performance at the Workshop1.0 event, — Estique and Afolake Fuji who have also established theirselves as titans on any stage. A different argument another may tend to put forward to make light of this disparity is that the male artistes enjoy a closer relationship with event organizers; bridging the gap between both parties to yield event opportunities for the former. But then, when has relationship ever been a more effective substitute for talent and competence.

More than events, the female artistes have been left out of consequential discourse and conversations in the public spaces — factors which serves as incubators for PR and awareness have been wrongfully or to put it mildly, unknowingly denied the young lady who already faces a complex uphill battle on her journey to turning lemons into lemonades. Now, whose fault is this? Is it that of those who shape the narrative around Funaab music? or is it that of the Female Artiste for not forcing herself into these conversations? But what does one do when one keeps shouting and no one else seems to hear, or, everyone pretends no to see one’s actions? At a point one resigns to fate — in this case, an unpleasant one.

Now close your eyes, take a deep breath and recount some of the notable events from the last section and ask how many featured female acts:

The Big Bhang? No,

Back 2 School Party? No,

Beneath the Starts? No,

Mr. & Mrs. Funaab? A big No.

Even the much Artiste-centered Why Not Party featured no single female in its 30 Artiste Line-up. If that is not unfair, then I do not know what is. A big salute to the Workshop1.0 event which showed a semblance of fair treatment to the female artiste in its features, a deed that is sadly not enough to equalize the unfair advantage enjoyed by the males.

Despite these arguments pointing to the maybe unintentional marginalization of female artistes, it is however shortsighted to absolve the female artiste of any shortcomings. To be heard and to be appreciated for one’s craft is never an easy feat for both genders. one must continue to strive to achieve one’s goals despite obstacles, else one risks failing and throwing in the towel. Get out there, be audacious, try even if it does not work out, try again, blow your trumpets until you find those who will blow them for you.