Abstract
This paper discusses the Tuareg people of the Central Sahara, outlining salient issues relating to the imzad (a Targai musical instrument) and gender. It examines the various ways in which gender and gendered meanings are derived in musical instruments. Drawing upon Veronica Doubleday’s theory on gendered meanings constructed within relationships between humans and musical instruments, the paper examines the dual instrumental monopolies of the Targai (Tuareg women musicians) and the Targui (Tuareg men musicians) living in the region of Mali, Niger and Algeria. It argues that gendered monopolies and dominance in music and musical instruments is not a necessary debate; beliefs, value systems and hereditary among other factors, may necessitate the observed male-female monopolies in music performances (voice or instrument). Our cultural beliefs, values and safeguarding practices are of more importance when rightly channelled by our indigenous music, they can attract investors and promotions on the international scale. The paper contributes to the vast ethnomusicological literature on music and gender.
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