Critique of ‘Koroba’ by Tiwa Savage using Laura Mulvey lens and Bell Hook’s Opositional gaze to Analyse

Laura Mulvey has made us believe many movies, ads or even music videos often look at women as just object to please men’s eyes and through out Tiwa Savage’s ‘Koroba’ music video, it was well proven. This is because in more than 80 percent of the scenes in the music video, the women, their outfits, the mis en scene and the camera movement were all for pleasing the male gaze. We would notice that all through the music video, most of the camera focus is either on the backside of the women, their legs, dresses and smiles this is because it seems the woman is just there to look fun and sexy that even the ‘amebo salon’ tag on the hairdressers uniform that was meant to be a joke for all watching the music could not find a better place to be than on their breast area automatically turning it to a pleasure point for the males. Mulvey’s lens would make us ask Is this shot for our pleasure as viewers in general? Meanwhile, bell hooks’ theory gives Black women a way to reject that framing and create their own meaning when watching the video. In the course of this critique, I will first reveal how Tiwa Savage’s ‘Koroba’ is shaped by Laura Mulvey’s theory of the male gaze, and then show how bell hooks’ oppositional gaze allows a Black feminist viewer to reject reclaim its framing for themselves.

Starting with, we would notice in the the Koroba music video, it uses camera angles, body positioning, and beauty standards that reflect the male gaze. Women in the music are often displayed for visual pleasure through their beauty, fashion but their individuality and power isn’t limited. Though that is not the part that is focused on, they aren’t focusing on how Tiwa despite the rumors running around is still dependent on herself or on how powerful her aura is throughout the video, rather they focus on how sexy she looks or dresses. They use soft lighting that makes their skin glow, and slow camera movements that give the audience more time to look at them showing that the women’s bodies are still being presented more for appearance than power. Even during the dancing scenes, the women move slowly, swaying their bodies in a controlled and elegant way, while the camera frames their movement carefully. It’s not wild, energetic dancing like the guys on d field, instead, it’s slow, sexy and sultry, made for the male audience to enjoy. These shots aren’t accidental. They help create that visual pleasure Mulvey talks about. Another observation is the camera moves softly when showing the women, making sure the audience gets a full view of their beauty. For example, on the field, the camera took time showing d female footballer’s fleshy buttocks and legs in slow motion while the shots of d guys falling around while was dribbling were in fast motion since there was nothing interesting there. Then the final cut of d scene where she jumped up in jubilation while the camera’s focus and depth was on her lower area just makes us ourselves does this not prove Laura’s lens was right about the shots being for the sole purpose of the male gaze?

Furthermore, the video uses camera angles that draw attention to Tiwa’s curves, legs, and outfits in ways that seem to please male viewers. The camera often looks at her like she is something to be admired or desired rather than a person with full control. For example in the scene where Tiwa Savage was on the news, talking on her views and expressing her mind on matters concerning men who should send money if they can since she didn’t come to this life to suffer, among the three people watching, the two guys there were focused on something else, her sexual appeal rather than listening to her words. They were more interested in the things that make her a woman rather than her interests, beliefs or values. The absurd thing is she wasn’t even wearing anything exposing on the news where she came as Madam T. Savage, Hajia Savage and Iyaloja Savage. The outfits she wore were quite descent and elegant compared to the other scenes, yet! The men couldn’t do more than fantasize about her that even the woman among was wondering what was making them all giddy. Mulvey would say this creates dual objectification both for her talent and their appearance. Also, the camera’s slow movements, careful lighting, and attention to tight fitting or overly exposing outfits turn the women the music video into a part of the appeal in general while men are allowed to move about freely in just shorts signifying ultimate comforts for them over fashion They don’t need the so not decent clothes to express themselves. All they need was shorts and a football, finish! The females had to wear ridiculously tight clothes, extravagant outfits, high heels, full makeup and complicated hair just to express themselves. This shows how the video can fit into Mulvey’s idea that women in media are often shown mainly for male pleasure.

In conclusion, a Black feminist viewer or even an ordinary critique writer like me using bell hooks’ oppositional gaze, can choose not to accept this male-centered way of seeing Tiwa. Instead of seeing the backside of the women, their legs, dresses and smile, I see the the confidence, aura, power in each notes she releases while since, her worth a young, black Nigerian female musician. Instead of focusing on how the camera shows Tiwa’s body, the viewers should focus on Tiwa’s boldness, and the way she controls the space and commands authority. The oppositional gaze lets Black women reject being seen as objects and see Tiwa as a powerful woman telling her own story. In ‘Koroba’ music video, We can see Tiwa as a strong Black woman making her own rules and expressing herself not caring about people’s perception of her. The Black feminist viewer can focus on Tiwa’s voice, dance, and confidence, seeing these as symbols of Black beauty, resilience, and belonging. So, with this gaze, the viewer can create a new meaning where Tiwa is not just looked at, but respected for her strength. Tiwa’s music video is not only about male viewers and their gaze; it is also about Tiwa using music, dance, and style to highlight her heritage and strength. Her outfits, energy, and bold expressions can be seen as a celebration of Black womanhood and its beauty. By focusing on this deeper message, the viewer can reject ideas that reduce Tiwa to an object and instead admire her as a strong subject. This way, this music video can mean much more than just something for the males pleasure but statement of pride and confidence made by a strong black woman.