# Exploring Semiotic Representation in Simisola Ogunleye-Kosoko's 'Duduke': A Multimodal Discourse Analysis

Peter Oyewole Makinde, Elekeson Christiana Chijioke

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Peter Oyewole Makinde, Elekeson Christiana Chijioke. Exploring Semiotic Representation in Simisola Ogunleye-Kosoko's 'Duduke': A Multimodal Discourse Analysis. Asian Journal of Arts, Humanities and Social Studies, 2026, 9 (1), pp.1 - 16. 10.56557/ajahss/2026/v9i193. hal-05450458

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# Exploring Semiotic Representation in Simisola Ogunleye-Kosoko's 'Duduke': A Multimodal Discourse Analysis

Peter Oyewole Makinde a*
and Elekeson Christiana Chijioke a

a Department of Linguistics Faculty of Arts, Nnamdi Azikiwe University, Awka, Nigeria.

## Authors' contributions

This work was carried out in collaboration between both authors. Both authors read and approved the final manuscript.

## Article Information

DOI: https://doi.org/10.56557/ajahss/2026/v9i193

**Open Peer Review History:**

This journal follows the Advanced Open Peer Review policy. Identity of the Reviewers, Editor(s) and additional Reviewers, peer review comments, different versions of the manuscript, comments of the editors, etc are available here: https://prh.ikprress.org/review-history/14043

## Original Research Article

Received: 22/10/2025

Published: 03/01/2026

## Abstract

This study examines how motherhood and femininity are semiotically constructed in Simisola Ogunleye-Kosoko's music video 'Duduke' through a multimodal discourse analysis (MDA). Treating the music video as a composite meaning-making event, the analysis integrates three interrelated modes: (i) linguistic choices in the lyrics, including metaphor, repetition, and code-switching; (ii) visual design, interpreted through social-semiotic categories of representational, interactive, and compositional meanings; and (iii) auditory resources, with attention to rhythm, vocal delivery, and sound texture as carriers of affect. The findings indicate that 'Duduke' foregrounds pregnancy and maternal anticipation through the recurring "heartbeat" motif, intimate framing of the pregnant body, sustained soft gaze and close social distance, and lighting and colour choices that emphasize tenderness and emotional warmth. The auditory layer reinforces these meanings by synchronizing percussive patterns with the heartbeat theme and supporting an intimate, reflective mood. Overall,

<footnote>*Corresponding author: E-mail: po.makinde@unizik.edu.ng;</footnote>

<footnote>**Cite as:** Peter Oyewole Makinde, and Elekeson Christiana Chijioke. 2026. "Exploring Semiotic Representation in Simisola Ogunleye-Kosoko's 'Duduke': A Multimodal Discourse Analysis". Asian Journal of Arts, Humanities and Social Studies 9 (1):1–16. https://doi.org/10.56557/ajahss/2026/v9i193.</footnote>
the video's modes work in concert to present motherhood as an embodied, celebratory experience while also articulating a contemporary cultural narrative in which maternal identity is framed with dignity, agency, and emotional depth. This study contributes to the understanding of how popular culture reflects and shape societal values, particularly around issues of gender and identity. The study has implications for theoretical and empirical studies and contributes to the growing body of scholarship at the intersection of African pop music, semiotic representation, multimodality, femininity and motherhood in contemporary Nigeria.

Keywords: Femininity; Multimodal Discourse Analysis (MDA); music; motherhood; Nigeria; semiotic representation.

# 1. Introduction

Music, as a form of artistic expression, has evolved beyond mere entertainment to become a powerful medium for conveying complex meanings through multiple semiotic modes (Davies, 1994; Callaghan & McDonald, 2008; & Varankaitė, 2020). In contemporary music, artists employ various meaning making resources - linguistic, visual, and auditory - to create layered narratives that reflect and shape societal values and experiences. This multimodal approach to meaning making has become increasingly significant in the analysis of popular music, particularly in the context of African music industries where artists often blend traditional storytelling with modern artistic expressions (Gerber, 2021; Oyebamiji & Olutayo, 2025; & Makinde & Onyenwe, 2025).

The Nigerian music industry, in particular, has emerged as a dominant force in Africa's cultural landscape, with artists using their platforms to address social issues, challenge conventional narratives, and express personal experiences (Faidi, 2024; & Okujeni et al., 2024). Within this vibrant scene, female artists have carved out significant spaces for themselves, using their music to articulate unique perspectives on gender, identity, and societal expectations. One such artist is Ogunleye-Kosoko, whose work consistently demonstrates a sophisticated use of multiple semiotic resources to create meaningful narratives that resonate with diverse audiences.

In 2020, Ogunleye-Kosoko released 'Duduke', a song that quickly captured public attention and became a cultural phenomenon in Nigeria and beyond. The song, which explores themes of motherhood, love, and anticipation, presents a rich case study for examining how different semiotic modes interact to create meaning. The title itself, 'Duduke', onomatopoeically representing a heartbeat, immediately establishes a connection to themes of life and

maternal relationships, demonstrating how linguistic choices can function as powerful semiotic resources (Adedeji 2016, Smith 2012).

The significance of examining 'Duduke' through a multimodal lens lies in understanding how contemporary Nigerian artists, particularly women, are using various semiotic resources to construct and communicate complex narratives about personal experiences and societal roles. As Bateman, Wildfeuer, and Hiippala (2017) argue, multimodal analysis provides a robust framework for investigating the interdependence between different modes of communication, allowing researchers to explore how meaning is constructed across diverse semiotic sources. In the Nigerian context, where music often serves as a vehicle for social commentary and cultural expression, the multimodal analysis of songs like 'Duduke' provides valuable insights into how artists navigate and contribute to discussions around gender, identity, and social expectations. The song's success and impact demonstrate the potential of multimodal compositions to resonate with audiences on multiple levels, creating connections through the interplay of lyrics, melody, rhythm, performance, and visual elements (Makinde 2024, O'Halloran 2004).

Furthermore, the examination of semiotic representation in 'Duduke' contributes to a broader understanding of how popular music participates in cultural discourse. As Jewitt, Bezemer, and O'Halloran (2016) note, meaning in multimodal texts often emerges from the interaction between modes rather than from any single mode in isolation. In 'Duduke', the combination of heartbeat-like rhythms, emotionally charged lyrics, and visually rich imagery creates a cohesive narrative about motherhood that transcends individual semiotic elements.

By focusing on 'Duduke' as a case study, this research illuminates the sophisticated ways in
which Ogunleye-Kosoko utilizes multiple semiotic resources to create meaningful cultural artefacts. The song's exploration of motherhood, anticipation, and love through various modes of expression offers a unique opportunity to examine how contemporary Nigerian music contributes to and reflects societal discussions about women's experiences and identities. Through this analysis, the researchers create a better understanding of the role of multimodal communication in shaping cultural narratives and social realities in modern Nigeria.

**1.1 Research Questions**

To guide this study and achieve the outlined objectives, the following research questions have been formulated:

1. What semiotic resources are employed in Ogunleye-Kosoko's 'Duduke' and how do they contribute to the overall meaning of the song?

2. How do the different modes (linguistic, visual, and auditory) interact to construct a narrative about motherhood and anticipation in 'Duduke'?

3. What cultural implications can be derived from the semiotic choices made in 'Duduke', particularly regarding representations of femininity and motherhood in Nigerian society?

**2. Literature Review**

**2.1 Semiotics in Music**

Musical semiotics extends semiotic principles to understand how meaning is conveyed through musical expression. Unlike linguistic signs, musical signs often exhibit motivated relationships with their referents through sonic symbolism, emotional evocation, and cultural association. Tagg (2012) emphasizes that musical meaning operates on multiple levels simultaneously, from the denotative (literal musical features) to the connotative (cultural and emotional associations). This complexity makes music a uniquely rich semiotic system, capable of communicating nuanced meanings that may be difficult to express through other modes.

A broad spectrum of musical elements functions as semiotic resources, including melody, harmony, rhythm, timbre, and dynamics. Each of these components can act as a signifier, capable of evoking specific meanings or emotions in

listeners. Turino (2008) argues that musical signs operate through both Peircean semiotics (icon, index, symbol) and more music-specific modes of signification. For example, a rising melody might iconically represent increasing tension, while a particular rhythmic pattern might symbolically represent a cultural identity.

The significance of musical signs is not universal but profoundly influenced by cultural context and personal experience. Patel (2010) emphasizes music's role in cognition and emotion, arguing that musical meaning is actively constructed through the interaction between the musical text and the listener's cultural framework. This is particularly relevant in the context of Nigerian popular music, where artists like Ogunleye-Kosoko navigate between traditional musical signifiers and contemporary global pop conventions, creating complex layers of meaning accessible to different audiences in different ways.

Contemporary music consumption is increasingly multimodal, with music videos and live performances adding visual dimensions to musical meaning. van Leeuwen (2021) demonstrates how the integration of visual and musical semiotics creates new possibilities for meaning-making. In music videos, visual elements may reinforce, contradict, or expand upon the meanings expressed through music and lyrics, creating a complex semiotic environment that demands nuanced analysis. Martinez (2013) also proposes a framework for analyzing the intersection of musical and visual semiotics in music videos, emphasizing the importance of considering both the structural aspects of music as a sign system and its experiential, embodied nature as a temporal art form. This approach is particularly valuable for analyzing works like Ogunleye-Kosoko's 'Duduke', where meaning emerges from the sophisticated interplay between musical, lyrical, and visual elements.

Recent scholarship has emphasized the need for interdisciplinary approaches to musical semiotics. Way and Kerrell (2017) highlight how musical semiotics intersects with issues of power, identity, and social change, particularly in genres like Afrobeats that emerge from specific cultural contexts but achieve global reach. The globalization of music distribution has created new challenges for musical semiotics, as songs are interpreted across diverse cultural landscapes, potentially generating new and unexpected meanings.
As digital technologies continue to transform music production, distribution, and consumption, new approaches to musical semiotics are emerging. These developments promise to enhance our understanding of how music functions as a system of meaning-making in an increasingly interconnected and multimodal world. It is on this note that the researchers observe how contemporary Nigerian artists utilize various semiotic resources to convey intricate messages about identity, cultural and social issues. Through systematic multimodal analysis, it is evident that researchers can move beyond impressionistic interpretations to provide evidence-based analyses of how meaning is constructed across modes.

## 2.2 Music Video as a Multimodal Text

Music videos represent a quintessential form of multimodal text, seamlessly integrating visual, auditory, and linguistic modes to create a complex semiotic landscape. As Korsgaard (2017) argues, the music video format has evolved significantly since its inception, particularly in the digital age, leading to new forms of audio-visual expression and audience engagement. The integration of multiple modes in music videos creates a rich tapestry of meaning and has provided a resource for linguistic analysis of musical elements. Visually, elements such as cinematography, editing techniques, colour schemes, and choreography work in concert to complement or sometimes contrast with the auditory components. The musical mode, comprising melody, rhythm, and instrumentation, forms the backbone of the video, while lyrics add a linguistic dimension that can reinforce or juxtapose with the visual narrative.

Narrative structures in music videos often deviate from traditional linear storytelling. Korsgaard (2017) notes that music videos frequently employ non-linear, associative, or abstract narratives that reflect the emotional or thematic content of the song rather than adhering to conventional plot structures. This flexibility allows for a wide range of artistic expression and interpretation. The relationship between music and visual elements in music videos is central to their semiotic power. It is in view of this assertion that Edmond (2014) highlights how the advent of digital platforms like YouTube has transformed the production and consumption of music videos, leading to more diverse and experimental forms of audio-visual synchronization. This synergy between sound

and image can create powerful affective experiences for viewers, enhancing the emotional impact of the music.

Furthermore, music videos serve as a potent medium for visual rhetoric and symbolism. Artists and directors often employ cultural references, metaphors, and symbolic imagery to convey complex ideas or social commentary. As Edmond (2014) argues, in the digital era, music videos have become important sites for negotiating and expressing cultural identities, particularly for marginalized communities. In the context of Nigerian music and Afropop, music videos play a crucial role in showcasing cultural elements, addressing social issues, and contributing to the global visibility of the genre. The multimodal nature of music videos allows artists like Ogunleye-Kosoko to communicate on multiple levels simultaneously, engaging audiences both locally and internationally through a rich interplay of visual, musical, and linguistic signs.

## 2.3 Empirical Studies

Studies have shown that there exists interrelatedness between music and language (Makinde & Esimone, 2025; Makinde, Chikezie & Onebunne, 2024; Makinde & Esimone, 2021; Sleeper, 2018; and Smith, 2014). There are also relevant empirical studies that have examined the representation of gender, semiotic analysis, and multimodal discourse in African music videos, with a particular focus on Nigerian pop music (Nwaoboli, Oluwafisayo, & Ezegwu, 2023; Abaya, 2020; Olayemi, 2020; Izumba & Keya, 2019).

Izumba and Keya (2019) conducted a social-semiotic analysis of the representation of women in bongo flava music videos and lyrics from Tanzania. Their study revealed that women are often depicted in subservient roles, with an emphasis on their physical attributes and commercial value. The researchers argue that these representations reflect broader societal views on gender and power dynamics. While this study focuses on Tanzanian music, it provides valuable insights into gender representation in African popular music that can be applied to the analysis of Nigerian music videos.

Olayemi (2020) employed a multimodal critical discourse analysis approach to examine the representation of the feminine gender in Nigerian hip-hop music. The study analyzed both linguistic and non-linguistic elements in randomly selected
hip-hop music videos. Olayemi found that females play major roles as characters in these videos but are often portrayed through vulgar expressions that depict them primarily as sex commodities. This portrayal, according to the researcher, questions the dignity of the African woman and the virtues she is expected to embody. Olayemi's work is particularly relevant to the current study as it provides a methodological framework for analyzing gender representation in Nigerian music videos.

Also, Nwaoboli, Oluwafisayo, and Ezegwu (2023) conducted a semiotic analysis of visual propaganda and emotional appeals in MTN's "No be Juju be that" advertising campaign. Although this study focuses on advertising rather than music videos, its application of semiotic theory to analyzes visual elements and emotional appeals in Nigerian media is relevant to the current research. The study found that the campaign effectively used emotional appeals and visual propaganda techniques to create positive brand associations. This approach to analyzing visual elements and their emotional impact can be applied to the study of Ogunleye-Kosoko's 'Duduke' music video.

Abaya (2020) investigated the visual-verbal interface in Nigerian pop music videos, focusing on works by Wizkid, Davido, and Iyanya. Their study examined how visual and verbal modes encode and enhance meanings in music videos. The researchers found that understanding all modes and their meaning-making properties leads to a clearer comprehension of texts. They emphasized the importance of considering the variety of modes, their modal affordances, and how they interact in specific contexts to produce meaning. This study provides a valuable framework for analyzing the interplay between visual and verbal elements in 'Duduke'.

From the foregoing, the above review shows that there is dearth of study solely on semiotic representation of motherhood and femininity in music video from a multimodal discourse analysis (MDA) lens. However, the empirical studies collectively provide a solid foundation for the current research. They offer insights into gender representation in African music videos, provide methodologies for semiotic and multimodal analysis, and approaches to examining the interplay between visual and verbal elements in Nigerian pop music. By building on these studies, the current research contributes to a deeper understanding of how

Ogunleye-Kosoko's 'Duduke' constructs meaning through its multimodal elements, particularly in relation to gender representation and cultural themes.

### 3. Theoretical Framework

The theoretical framework for this study is grounded in Multimodal Discourse Analysis (MDA), a comprehensive approach to analyzing communication that integrates various semiotic resources. This framework is particularly suitable for examining Ogunleye-Kosoko's 'Duduke', as it allows for a holistic analysis of the music video's visual, auditory, and linguistic elements.

MDA emerged in the late 20th and early 21st centuries as an extension of traditional discourse analysis. It was developed by scholars such as Gunther Kress and Theo van Leeuwen, who recognised the need to analyse communication beyond just language. Their seminal work "Reading Images: The Grammar of Visual Design" (1996) laid the groundwork for understanding how visual elements contribute to meaning-making.

MDA, thus, has emerged as a crucial framework for understanding how meaning is created through the interplay of multiple semiotic resources. Building upon traditional linguistic approaches to discourse, multimodality recognizes that communication inherently involves the integration of various modes, including visual, auditory and gestural elements. As Jewitt, Bezemer, and O'Halloran (2016) emphasize, multimodality is not merely about the simultaneous use of different modes but rather about understanding how these modes interact and integrate to generate meaning that transcends their individual components. Within this framework, modes are understood as socially shaped and culturally given resources for meaning-making. Music videos represent a particularly rich source for multimodal analysis, offering a complex interplay between auditory, visual and linguistic modes. In contemporary popular music, visual elements are often central to the overall message and impact of a song, creating what Cook (2018) describes as a "multimedia musical text".

The core principle of MDA is that all communication is inherently multimodal, involving the integration of multiple semiotic resources or modes. These modes can include language, images, sound, gesture, and spatial
arrangements. Each mode has its own potential for meaning-making, and the interaction between modes creates complex, layered meanings that exceed the sum of their parts. For the analysis of the music video, 'Duduke', the application of MDA allows for an examination of how meaning is constructed through the interplay of music, lyrics, and visuals. It provides tools for analysing (1) How the visual narrative of the music video complements or contrasts with the lyrical content. (2) The ways in which musical elements (rhythm, melody, instrumentation) contribute to the overall message. (3) The use of cultural symbols and references in both visual and auditory modes. (4) The interaction between Ogunleye-Kosoko's performance, the setting, and the song's themes.

## 4. Methodology

This study adopts a qualitative research design, which is most suitable for analysing semiotic elements in media, particularly in a multimodal text such as a music video. The qualitative approach is effective for this study in that it allows for a deep exploration of meaning, focusing on interpretation rather than numerical analysis. Data for the study are sourced from primary and secondary sources. The primary source consists of the music video 'Duduke' by Simisola Ogunleye-Kosoko, which was released in 2020. The video serves as a rich text for multimodal analysis, offering various semiotic resources viz-a-viz imagery, gestures, and sound that communicate significant cultural and emotional messages. The music video is publicly available on YouTube, ensuring easy access for repeated viewing and analysis. Additionally, secondary data sources include reviews, critiques, and analyses by music reviewers and cultural commentators, which provide context for understanding the broader cultural impact of the song. Academic literature on semiotics and multimodal discourse analysis is also consulted to ground the research in established theoretical frameworks and methodologies.

Regarding data analysis, the collected data are thematically broken down into the various semiotic modes to enable interpreting how these modes interact to create meaning. Each mode, visual, linguistic, and auditory, is analysed both individually and in relation to the others. The video's content is analysed visually and aurally. The visual elements include the imagery of Ogunleye-Kosoko, the setting, colour schemes, body language, and symbolic objects that appear

throughout the video, while the auditory elements encompass the lyrics, rhythm, and musical composition that set the tone for the message of the song. Thus, Ogunleye-Kosoko's gestures, facial expressions, and the background scenery, as depicted in the video, are analysed for their symbolic meaning. Colours, lighting, and key imagery (such as the depiction of pregnancy) are also examined using semiotic theory to understand what these visual signs signify in the context of the song's message.

As it concerns the linguistic mode, the lyrics of the song are analysed to identify metaphors, symbols, and key themes. For instance, the recurring word 'Duduke' is studied for its symbolic meaning in relation to love and motherhood. Other linguistic features, such as repetition, tone, and word choice, are also examined to understand how they contribute to the overall emotional resonance of the song. For the aural mode, the song's music, including its tempo, melody, and instrumentation, is analysed to determine how it complements or enhances the meaning conveyed through the visuals and lyrics. The aural mode is thus studied for its emotional and symbolic significance, particularly in relation to how it sets the mood and tone of the music video. In this way, the researchers synthesize the findings from each mode to provide a comprehensive interpretation of how 'Duduke' communicates its message through a multimodal lens.

The justification for selection of 'Duduke' for this study and the application of MDA as the choice for analysis stem from the researchers' observations that the video clip contains a lot of artefacts as resources for meaning-making. Such affordances enable the exploration of semiotic representation of motherhood as an embodied, celebratory experience while also articulating a contemporary cultural narrative in which maternal identity is framed with dignity, agency, and emotional depth.

Furthermore, the researchers assert that copyright permission is not required for this video, as the video clip is generally accessible for public consumption and use. This provides an avenue for a fair-dealing rationale for reproduced images. Thus, the use or reuse of the video clip has no compliance risk of any kind whatsoever. In addition, the data consist of publicly available cultural materials (music video, lyrics) and does not require ethical clearance.
**5. Data Presentation and Analysis**

This section presents and analyzes the data
collected for the multimodal semiotic analysis of
Ogunleye-Kosoko's 'Duduke'. Drawing on the
research questions outlined in the introduction,
the analysis focuses on three primary modes –
linguistic, visual, and auditory – to explore how
the song constructs a narrative around
motherhood, anticipation, and cultural themes.
This enables the examination of how these
modes interact to create deeper meanings and
cultural implications.

5.1 Semiotics as Resources for Meaning
Making in Ogunleye-Kosoko's
'Duduke'

The semiotic resources employed in ‘Duduke’
are categorised into three main modes: linguistic
mode, visual mode, and auditory mode. These
categorisations are discussed further in the
sections that follow.

5.1.1 Linguistic Mode as a Resource for Meaning-Making in ‘Duduke’

The lyrics of ‘Duduke’ are central to
understanding the song’s narrative, particularly
its focus on maternal love and the anticipation of
childbirth. In the text, *I cannot wait to see
you/You are the treasure I’ve been waiting for*,
Ogunleye-Kosoko expresses anticipation for the
arrival of her child. Her choice of words like
“treasure” emphasizes the immense value she
places on her unborn baby, while “waiting for”
conveys her long-held desire to *My heart e dey
beat like du du ke*. This metaphor represents the
deep emotional connection between the mother
and the unborn child, with her heart’s rhythm
aligning with the baby’s heartbeat, symbolizing
the bond and love she feels. The repeated beat
of *duduke* mimics the rhythmic, steady heartbeat,
which illustrates the anticipation and nurturing
emotions. The lyrics about anticipation and love
are visually represented through Ogunleye-
Kosoko’s gestures and expressions. For
example, when she sings *I cannot wait to see
you*, the visual of her cradling her baby bump
creates a powerful emotional resonance. This
interaction makes the anticipation described in
the lyrics more tangible and relatable to the
audience.

Likewise, in the text, *Oh baby oh you are my
angeli oh*, the use of the word “angeli” highlights
the speaker’s deep love and devotion for the

unborn child. It also connotes how the unborn
child will bring her protection, as angels are often
seen as a source of guidance and protection. In
the expression, *Cos na you I choose oh, ayanfe
mi a yan fe*, Ogunleye-Kosoko reinforces how the
unborn child has become the centre of her world,
as in *ayanfe mi*, which signifies the unborn baby
as her choice. Via this, Ogunleye-Kosoko
emphasizes the centrality of maternal love and
emotional connection. The repeated chorus
conveys the consistency of her emotions,
reinforcing the idea of a mother whose thoughts
and feelings are intimately tied to the well-being
of her child. Though simple yet powerful
language, Ogunleye-Kosoko conveys the
universal experience of maternal anticipation,
making the song resonate with women across
cultures. The lyrics serve as the primary vehicle
for conveying the song’s themes. Structures like *I
cannot wait to see you* and *You are the treasure
I’ve been waiting for* directly express the
anticipation of motherhood.

The metaphorical language, particularly the
heartbeat metaphor as in *my heart e dey beat
like duduke*, creates a strong emotional
connection between the mother and unborn
child. The simplicity and universality of the
language make the song's message accessible
and relatable to a wide audience. The lyrics
about anticipation and love are visually
represented through Ogunleye-Kosoko's
intensified gestural communication. For example,
when she sings, *I cannot wait to see you*, the
visual of her cradling her baby bump creates a
powerful emotional resonance. The repetition of
duduke du du ke in the lyrics mimics the sound of
a heartbeat, which is echoed in the song's
percussion. This interaction creates a strong
auditory representation of the central metaphor,
making it more memorable and emotionally
impactful. Ogunleye-Kosoko's vocal delivery, with
its gentle and affectionate tone, aligns closely
with the nurturing themes expressed in the lyrics,
providing an illustration of her emotions. The
seamless interaction between these modes
creates a unified narrative about motherhood and
anticipation. Each mode reinforces and expands
upon the others, resulting in a rich, multi-layered
representation that engages the audience on
multiple sensory and emotional levels. This
interplay of modes allows the song to convey
complex emotions and experiences in a way that
resonates deeply with the audience,
transcending the limitations of any single mode
of communication. The use of both English and
Nigerian Pidgin English (NPE) in the lyrics
reflects the linguistic diversity of Nigeria and appeals to a wide audience. This bilingual approach situates the song within the contemporary Nigerian music scene while making its message accessible to a broader, potentially international audience.

## 5.1.2 Visual Mode as a Resource for Meaning Making in ‘Duduke’

Kress and van Leeuwen's (2006) framework for understanding visual communication is articulated through three key meanings: representational meaning, interactive meaning, and compositional meaning. How the visual elements employed in 'Duduke' are depicted via these multiple modes to account for meaning-potentials is further elaborated below.

In the opening of the video clip, the audience is presented with a solemn musical sound accompanied by the visual of a seashore, followed by a setting sun; this paves the way for the visual of a keyboard positioned at the seashore, coupled with the movement of the represented participant's legs, depicted from the feet upward, with the text 'Duduke' (See Fig. 1, pic 4). Within the 18th seconds of the clip, there is a sudden change in the tempo of the song, with the visual of Simisola presented in a narrative process of doing and happening to pave the way for the song's lyrics. The use of multiple modes involving sounds, lyrics, and visuals, as well as gentle movements and the musical performance of the participant, reinforces the auditory perspective that this song projected. The narrative of this song is further highlighted in the collage of figures that follows.

### 5.1.2.1 Representational Meaning (RM)

RM focuses on what is depicted in an image and how it relates to the world. RM involves the categorization of participants into interactive and representative on one hand, and vectoral relations, which include the narrative process of doing and happening as well as the conceptual process on the other hand (Makinde, 2025). Kress and van Leeuwen (2006) describe this as involving subjects, actions and the settings within a visual. From a representational lens, the main participants are those who perform the action, the target of their actions, and the context/setting of the action. In the music video 'Duduke', the actor is the pregnant woman representing Ogunleye-Kosoko herself, and the target/goal is the unborn child; the setting is a joyful anticipation of childbirth expressed through

imagery of a growing baby and a beating heart. Here, Ogunleye-Kosoko is depicted as a caring mother and nurturer, which guides her in the action of cradling her belly (See pic 8 of Fig. 1), expressing motherhood's sacredness symbolized by flora and sunsets surrounding the actor. This depiction creates an atmosphere of life and transformation. Life focuses on the unborn's oceanic birth and developmental themes, recalling the act of Ogunleye-Kosoko closing her eyes, which aids in evoking sacred experiences and emotional reminiscences towards motherhood. The figures that follow depict the visual representation of the captured video clip.

Fig. 2 depicts instances of representational meaning. While pic. 1 captures a soft, nurturing image of Ogunleye-Kosoko gently cradling her baby bump close to a serene beach with the waves gently lapping at the shore as it symbolizes the peaceful and nurturing environment the mother is creating for her child as she holds her belly with so much anticipation and longing, Fig. 2 depicts visual of Ogunleye-Kosoko on a keyboard. Thus, visually reinforces the idea of pregnancy as a journey toward birth and the connection between a mother and her child. An image that reinforces the song's narrative of nurturing and maternal love. The vectoral relation of the visual in pic. 1 involves both narrative and conceptual processes, as it involves doing and happening while at the same time depicting symbolic meaning. The participant's gesture is universal, symbolizing protection and care.

### 5.1.2.2 Interactive Meaning (IM)

Interactive meaning concerns the relationship between the image and the viewers. IM involves the use of gaze, distance, and angle to create a sense of involvement or detachment with the audience (Kress and van Leeuwen, 2006). In *Duduke*, the interactive dimension is constructed through gaze, proximity, and modality. In a mid-shot frame where Ogunleye-Kosoko faces the camera directly with a soft smile, her gaze invites the viewer into an emotional bond (See pics 2, 3 & 6 of Fig. 2). This direct gaze, coupled with mid-range social distance, encourages a sense of shared intimacy. The direct gaze in some shots invites a connection with the viewer, simulating intimacy, almost as if the participant is speaking or singing directly to the audience. Likewise, the indirect gaze (e.g., looking at the belly, looking at the sky) produces contemplation, drawing viewers into a shared emotional space.
<figure><img src="image_3.png" /><figcaption>Fig. 1. Showing Duduke's visualscapes as resources for meaning-making</figcaption></figure>

Source: YouTube - https://www.youtube.com/watch?v=-L8hLkg21MQ

<figure><img src="image_4.png" /><figcaption>Fig. 2. Showing Visual Modes as resources for meaning-making in Ogunleye-Kosoko's Duduke</figcaption></figure>

Source: https://www.youtube.com/watch?v=-L8hLkg21MQ
Regarding social distance, many of these images (See Fig. 1) are medium or close shots, fostering familiarity. This builds emotional proximity with viewers and serves as an affordance for engaging themes like love, longing, and maternal warmth. From the modality lens, the natural lighting and high-resolution clarity suggest high visual modality, depicting the scenes as real and believable. The natural backlight gives a halo effect, reinforcing purity and divine association. On the other hand, the dark background (See Fig. 2 pics 5 - 7) foregrounds the visuals of Ogunleye-Kosoko and other artefacts that help project the performance in the video clip.

Gestures such as hand-on-belly or open arms are emotionally communicative, serving as interpersonal resources that reinforce love, anticipation, and trust. Via these resources, Ogunleye-Kosoko creates a social interaction boundary constructed via a close-framed hand-on-belly and open arms posture with her smiles carrying an emotional soft gaze connected to auditory bonds coupled with shared intimacy. In pic 1, the artist's focus is no longer on the viewers but on her baby bump. All her focus is on the unborn child, as she looks at the bump with so much longing and love as though she can physically see the baby. Here, Ogunleye-Kosoko offers the viewer visual information, inviting them to be part of her world.

In pics 2 - 4, the visuals depict Ogunleye-Kosoko in a white shirt sitting in front of an organ at the seashore. Here, her focus is not on the organ but on her viewers. Her gaze is soft and inviting, encouraging the viewer to share in her joy and offering a sense of connection. The visual choice of white clothing symbolizes purity and the peacefulness of motherhood. Also, the use of authentic colour saturation (yellow, green, blue) enhances emotive realism and sincerity. While the yellow colour traditionally connotes joy, optimism, and celebration, the palette depicts warm, natural tones that enhance a sense of peace and celebration.

### 5.1.2.3 Compositional Meaning (CM)

CM involves the arrangement of elements within an image, by utilizing salience, framing, and information value to guide the viewer's attention. Kress and van Leeuwen (2006) argue that the layout, balance and use of space play critical roles in guiding the viewers' interpretation. This shows that compositional meaning concerns visual coherence and the arrangement

of information. One exemplary frame shows the Actor standing to the left, with a large portion of the ocean and sky occupying the right (See pic 1 of Fig. 2). According to information value, the left is the “given” – her identity and presence. The right, as the “new,” signifies the future – the child, hope, or dreams. The framing is soft and seamless without visual obstacles, encouraging ideational flow between self and space. The repeated use of centred framing, soft gradients, and harmony in colour provides rhythmic visual cohesion across the video, supporting a unified textual experience (See pics 3, 4, 6 & 7 of Fig. 2).

Following Kress and van Leeuwen's (2006) layout and salience organisation, Ogunleye-Kosoko achieves strategic positioning with precision through spatial symmetry and aesthetic rhythm. Textual coherence in *Duduke* is achieved through deliberate layout, salience, and framing. In a notable frame, the represented participant is positioned to the left while a vast expanse of ocean occupies the right. Thus, Kress and van Leeuwen's principles of information value is evident: the left side signifies the 'given' – her identity and present state – while the right side signifies the 'new' – her unborn child and future. Colour harmony, repetition of visual motifs (e.g., flowing dresses, soft lighting), and the use of negative space collectively foster a rhythmic and unified compositional structure.

As shown in pics 5 & 7, the music video often uses soft pastel colours, creating a soothing atmosphere, reinforcing the theme of joy and anticipation, thereby creating an involving, intimate mood. Additionally, the camera frequently moves from left to right, following Ogunleye-Kosoko as she walks or dances, thereby creating a sense of forward motion and progression that reflects the anticipation and excitement of the song, as well as its gentle, soothing tempo. This conveys a sense of peace and tranquillity, reflecting the mother's love and protective feelings. In essence, Kress and van Leeuwen's (2006) framework provides a bridge between linguistic and visual communication, demonstrating how both pictures and words can be understood in similar ways. As we can analyze sentences to understand their meaning, we can also analyze pictures to understand their meanings.

The gentle flow of water is a visual element that contributes to the overall composition of the video, suggesting tranquillity, calmness, or a
sense of progression, which symbolises the
peaceful and nurturing environment the mother is
creating for her child. Therefore, the gentle flow
of water at the beginning of the video is a
compositional element that contributes to the
overall meaning and mood of the video. The use
of soft colours often evokes feelings of
gentleness and serenity, aligning with the song's
theme of love, anticipation, and the peaceful
atmosphere surrounding the pregnancy. Soft
colours can also create a sense of warmth and
comfort, reflecting a mother's nurturing feelings
towards her unborn child (See Figs. 2-3). By
avoiding harsh or bright colours, the focus is
drawn to the emotional content of the song and
the singer's expressions, helping to create a
visually, emotionally and appealing experience
that complements the song's message.

The visual elements reinforce and expand upon
the themes introduced in the lyrics. The choice of
natural settings, particularly the beach scenes,
symbolises new beginnings and the journey of
life. Also, Ogunleye-Kosoko's yellow dress
represents the more contemporary Nigerian
woman; her gestures, such as cradling her baby
bump and forming heart shapes with her hands,
visually reinforce the themes of love and
nurturing expressed in the lyrics. The soft, warm
lighting throughout the video creates an
atmosphere of intimacy and tenderness,
mirroring the emotional tone of the song.

## 5.2 Auditory Mode as a Resource for Meaning-Making in ‘Duduke’

The auditory elements in ‘Duduke’ play a
significant role in crafting the emotional tone of
the song. The instrumental arrangement is gentle
and rhythmic, complementing the theme of
nurturing and anticipation. The use of heartbeat-
like percussion throughout the song mirrors the
lyrical metaphor of Ogunleye-Kosoko’s heart
beating in anticipation of her baby. Ogunleye-
Kosoko’s vocal delivery is calm and controlled,
matching the overall soothing tone of the music.
Her voice carries a sense of affection, with subtle
pitch modulations that convey excitement and
tenderness in equal measure. These semiotic
resources work together to create a cohesive
narrative about motherhood and anticipation,
engaging the audience on multiple sensory
levels.

The musical arrangement plays a crucial role in
setting the emotional tone of the song. The
gentle, rhythmic percussion mimics a heartbeat,
directly connecting to the central metaphor of the

lyrics. This auditory representation of a heartbeat
creates a sense of intimacy and connection with
the unborn child. Ogunleye-Kosoko's soft,
controlled vocal delivery enhances the sense of
calm anticipation and maternal love expressed in
the lyrics and visuals.

The interaction of these semiotic resources
creates a multi-layered representation of
motherhood that appeals to multiple senses,
making the song's message more impactful and
memorable. Thus, linguistic, visual, and auditory
contribute uniquely to the overall narrative while
reinforcing the central themes of love,
anticipation, and the emotional journey of
motherhood.

## 5.3 Interaction of Semiotic Modes as Construal of Motherhood and Anticipation in Ogunleye-Kosoko's 'Duduke'

The interaction of linguistic, visual, and auditory
modes in ‘Duduke’ is observed in several key
moments. Ogunleye-Kosoko’s movement
synchronizes with the soft rhythm of the music,
visually representing the heartbeat metaphor that
dominates the lyrics. Her body language –
particularly the gentle touches to her belly – adds
another layer to the narrative, reinforcing the
connection between the auditory and visual
modes.

In the scene depicted in Fig. 3, Ogunleye-Kosoko
forms a heart shape with her hands and places it
over her chest as she sings the line, *my heart's
Duduke*. The gesture symbolizes her deep
affection for her unborn child, visually reinforcing
the emotional bond described in the lyrics. The
use of natural settings (visual) complements the
themes of nurturing and anticipation expressed in
the lyrics (linguistic). The heartbeat-like rhythm
(auditory) reinforces the central lyrical metaphor
of the mother's heart beating with her child's.
Ogunleye-Kosoko's soft vocal delivery matches
the gentle visual aesthetic throughout the video.
The figures, with their background colour, the
positioning of the participant at the centre of the
frame, as well as the participant's gestures and
her facial expression, reflect the multidimensional
and complementarity nature of the visual. Also,
the calm, serene visuals align with the soothing
musical arrangement, creating a unified
emotional experience. All of these resources,
which contribute to the overall beauty of the
music, work together to help the audience make
meaning from the video clip.
<figure><img src="image_5.png" /><figcaption>Fig. 3. Showing Ogunleye-Kosoko forming a heart shape with her hands</figcaption></figure>

Source: https://www.youtube.com/watch?v=-L8hLkg21MQ

## 5.4 Cultural Implications as Semiotic Choices for Representation of Femininity and Motherhood in Ogunleye-Kosoko's 'Duduke'

The semiotic choices in 'Duduke' reflect and engage with cultural aspects of femininity and motherhood in Nigerian society. The song's central focus is on pregnancy and the anticipation of childbirth, reflecting the cultural importance of motherhood in Nigerian society. Motherhood is portrayed as a joyful, emotional experience, emphasizing personal fulfilment alongside social expectations. Throughout the video, Ogunleye-Kosoko wears a modern, flowing yellow dress rather than traditional African attire; there are some instances when she is in white attire or not covering her entire body as she showcases her dark skin. This choice represents a blend of contemporary fashion, something not often associated with motherhood. The use of natural, unadorned settings rather than culturally specific locations presents a personal vision of the maternal experience. The song emphasizes the emotional and spiritual aspects of motherhood, aligning with Nigerian cultural values that view motherhood as both a physical and spiritual journey. Its focus on individual expression of the maternal experience contributes to evolving narratives about women's roles in contemporary Nigerian society. The lyrics blend English and NPE, reflecting the linguistic diversity of Nigeria while appealing to a wide audience. Its universal themes of love and anticipation are expressed through culturally resonant metaphors, particularly the heartbeat metaphor. The song combines elements of contemporary pop with subtle traditional influences, creating a sound that is both modern and culturally grounded. The gentle, intimate musical arrangement contrasts

with more upbeat popular Nigerian music, carving out a space for expressing vulnerable, personal emotions within the genre. These semiotic choices contribute to a nuanced representation of motherhood and femininity in the context of contemporary Nigerian culture, balancing traditional values with modern expressions of identity and emotion. The gentle, intimate sound of 'Duduke' contrasts with more upbeat popular Nigerian music. This stylistic choice emphasizes the personal, emotional nature of the song's subject matter. By choosing a softer, more contemplative style, Ogunleye-Kosoko carves out a space for expressing vulnerable, intimate emotions within the Nigerian pop music landscape.

In this way, the semiotic choices in 'Duduke' contribute to an evolving cultural narrative about motherhood and femininity in Nigeria. The song presents a modern, emotionally rich portrayal of the maternal experience while still respecting and engaging with traditional cultural values. This balance allows 'Duduke' to resonate with a wide audience and contribute to ongoing discussions about women's roles and experiences in contemporary Nigerian society. It represents a form of cultural expression that honours tradition while embracing change, reflecting the complex, multifaceted nature of modern Nigerian identity. Following the above analysis, the present study synthesizes visual, auditory, and linguistic modes with cultural interpretations of femininity and motherhood in contemporary Nigeria as affordances for semiotic representation. It, thus, expands the empirical scope of multimodal research in African contexts and enriches discussions on gender representation in Nigerian pop culture, and cultural narratives around identity and social expectations.
**6. Results and Discussion**

The multimodal semiotic analysis of Ogunleye-Kosoko's 'Duduke' reveals a complex interplay of linguistic, visual, and auditory elements that collectively construct a powerful narrative about motherhood, anticipation, and cultural identity. Regarding the first research question on semiotic resources, the study found that 'Duduke' employs a rich array of signs across multiple modes. Linguistically, the lyrics utilize metaphorical language, particularly the heartbeat metaphor, to convey the deep emotional connection between mother and unborn child. Visually, the use of natural settings, symbolic gestures, and carefully chosen costumes reinforces themes of purity, nurturing, and new beginnings. Aurally, the gentle rhythmic arrangement and Ogunleye-Kosoko's controlled vocal delivery create an intimate atmosphere that complements the lyrical content. The interaction of these modes, addressed in the second research question, demonstrates how multimodal elements reinforce and amplify each other to create a cohesive narrative. The synchronization of visual gestures with lyrical and musical elements, such as Ogunleye-Kosoko's dance movements echoing the heartbeat rhythm, creates a multi-sensory experience that deepens the emotional impact of the song.

The cultural implications, explored in the third research question, reveal how 'Duduke' navigates the complex terrain of traditional values and contemporary expressions of Nigerian femininity. The song's celebration of motherhood aligns with traditional Nigerian values, while its focus on individual emotional experience and modern visual aesthetics speaks to evolving narratives about women's roles in society. These findings highlight the power of multimodal semiotics in creating meaning and emotional resonance. Ogunleye-Kosoko's 'Duduke' demonstrates how artists can use various semiotic resources to address cultural themes in ways that are both deeply personal and broadly relatable. The song's success in connecting with a wide audience suggests that this approach to representing motherhood and femininity resonates with contemporary Nigerian society.

Moreover, the study underscores the importance of considering cultural context in semiotic analysis. The blend of traditional themes with modern expression in 'Duduke' reflects the dynamic nature of Nigerian culture, particularly in

its negotiation of global influences with local traditions. These findings contribute to our understanding of how popular music can serve as a site for expressing and shaping cultural values, particularly around issues of gender and identity. They also demonstrate the value of multimodal analysis in unpacking the complex layers of meaning in contemporary media texts.

**7. Limitations**

This study is based on a single music video 'Duduke', so the interpretations offered here should be read as a focused case analysis rather than a basis for generalizing about Nigerian music videos, contemporary femininity, or motherhood across contexts. The multimodal discourse analysis relies on close reading of selected frames, lyrics, and auditory cues; while this approach is appropriate for qualitative semiotic inquiry, it inevitably involves interpretive judgment, and alternative readings are possible. Because the analysis does not incorporate audience-reception evidence (e.g., listener interviews, surveys, ethnographic observation, or systematic analysis of viewer comments), the paper cannot empirically confirm how diverse audiences actually perceive or internalize the meanings identified. In addition, the auditory discussion remains primarily descriptive; without detailed musicological measurement or production-level data, the link between specific sonic features and semiotic effects is argued inferentially rather than demonstrated through technical verification.

**8. Future Research**

Future work could extend this study by building a comparative corpus of Nigerian music videos that foreground women's experiences (e.g., pregnancy, intimacy, family, spirituality, labor) and systematically testing whether the semiotic patterns observed in 'Duduke' recur across artists, genres, and production styles. Mixed-method designs would strengthen interpretive claims by combining multimodal coding with reception research - such as interviews with viewers, focus groups, or structured analysis of social-media discourse - to examine how meanings vary by gender, age, cultural background, and viewing context. Methodologically, subsequent studies could enhance transparency through explicit sampling rules (shot/scene selection), time-coded coding sheets, and inter-coder agreement checks. Finally, interdisciplinary approaches that
integrate semiotics with musicology, film studies, and platform studies could better capture how editing, sound design, distribution algorithms, and participatory cultures shape the circulation and interpretation of motherhood and femininity in contemporary African popular media.

## 9. Conclusion

This study explores a multimodal semiotic analysis of Ogunleye-Kosoko's 'Duduke', focusing on how linguistic, visual, and auditory modes interact to construct meanings around motherhood and femininity in the Nigerian context. Key findings include the effective use of metaphorical language, particularly the heartbeat metaphor, to convey maternal love and anticipation. Visual elements, including natural settings and symbolic gestures, reinforced themes of nurturing and new beginnings. The musical arrangement and vocal delivery created an intimate atmosphere that amplified the emotional content of the lyrics. The study revealed a complex interplay between modes, with visual, linguistic, and auditory elements working in harmony to create a cohesive and emotionally resonant narrative. This multimodal approach allowed for a rich, multi-layered representation of the maternal experience.

Culturally, 'Duduke' is found to navigate a balance between traditional values and contemporary expressions of Nigerian femininity. The song's celebration of motherhood aligns with cultural norms, while its focus on individual emotional experience contributes to evolving narratives about women's roles in society. By way of concluding remarks, this analysis demonstrates the power of multimodal semiotics in creating meaning and emotional connection in popular music, highlighting how artists can use various semiotic resources to address cultural themes in ways that are both personally expressive and broadly relatable. The study contributes to our understanding of how popular culture can reflect and shape societal values, particularly around issues of gender and identity. Future research could extend this approach to a wider range of contemporary Nigerian music, viz-a-viz further exploration of how multimodal semiotics are used to negotiate cultural identities in a globalised world.

## Disclaimer (Artificial Intelligence)

Authors hereby declare that NO generative AI technologies such as Large Language Models

(ChatGPT, COPILOT, etc.) and text-to-image generators have been used during the writing or editing of this manuscript.

## Competing Interests

Authors have declared that no competing interests exist.

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