Deconstructing Gender Bias Through Adeyemi’s Poetic Lens

Yinka Olatunbosun

Over the years, women writers have built a hall of fame for women and the girl child who struggle with societal expectations and cultural bias through their creative works. Taking cues from personal stories and shared human experiences, writers such as Maya Angelou, Toni Morrison and Bell Hooks have made universal statements in breaking down patriarchal walls and systemic oppression of women.

Trailing this movement of being the voice of the voiceless, a young Nigerian poet, Adebimpe Oluwafunmilayo Adeyemi, with the moniker Fumsymoon, has lent a unique perspective to women’s story with her latest poetry collection published by INKspiredng titled ‘Symphony of A Blackbird’ (2025). Known for her focus on socio-cultural, political issues as well as femininity, Adeyemi is a prolific writer who has weaponised internal struggles of a woman in a society to articulate the distorted reality of what a woman ought to be. The lawyer-poet began writing in 2011 with her first poem titled “Aluta-struggle” which bridges art with activism. Outside the courtroom, she has found her deftness in seeking justice for women through the themes of femininity, identity, sexuality amongst others.

In the 46-paged collection ‘Symphony of A Blackbird,’ the poem, ‘My Body is a crime scene,’ stands out as she repeatedly explores the imagery of being criminalised. Using a metaphoric title, she paints a grim picture of what it means to be under constant, if not, compulsive scrutiny of a woman. Through her narrative verses, Adeyemi recounts the varied social realities of a woman and how this gender has been objectified for many generations. From being a victim of sexual gratification to being limited by societal expectations, the woman is portrayed as a vulnerable person- a subject of public debate and restrictive policies.

In many lands, laws are created to regulate reproductive choices, clothing, or behavior can make the woman’s body appear as something that needs policing. In addition, cultural norms and media scrutiny often judge women’s appearances and actions, leading to blame or shame. Rather than show respect for a woman’s aging process, the media often frown at or amplify the presence of wrinkles, bloated tummy and other visible signs of aging in women. With this poem, Adeyemi challenges the social prejudice against women.

With a title made of a rhetorical question, Adeyemi ponders about the cycle of grief in the poem, “Does the body ever get familiar with grief?’ By exploring the burden of memories and the facade of healing borne by the grieving person, this poet appropriates the mental picture of ‘going underwater’ when consumed by the grief of losing someone.

‘Nobody Sees Me’ is a quiet commentary on loneliness and perhaps a poetic anthem for high-functioning depression. Through the lines, the poet shows how lack of social support isolates an individual; public image is a deceptive representation of the inner person and the concept of love is more of a transactional language than an expression of true feelings and deep connection.

With a thought-provoking poem like ‘Becoming My Mother,’ Adeyemi offers an expose on domestic violence and abuse that plagues many women across the world. It interrogates the effect of internalised misogyny and how women shy away from confronting their abusers.

Indeed, the idea of living in denial normalises conflict while mothers become role models of resilience when they remain in an abusive home to protect the family unity. Using the first person narrative, Adeyemi reveals how constant exposure to demeaning behavior can lower a child’s sense of self‑esteem, making her more vulnerable to future abusive relationships.

Although it reads like a sequel to ‘Becoming My Mother,’ the poem, ‘Before I Have my Daughter’ highlights body positivity and self-esteem with the aim of deconstructing the stigma associated with bodies that don’t fit narrow media ideals. It delves into a world where lack of self-esteem and the constant need for validation have degenerated into high rates of eating disorders, image altering plastic surgeries and in extreme cases, suicide. The piece is thus a poetic message of affirmation for women and young girls to embrace their uniqueness while appreciating their self-worth.

On its part, the poem ‘You Say I’m A Man’ is a commentary on culturally assigned gender roles. Gender roles are essentially the societal expectations cultivated by customs, religions, and myths often shaped by the media. In some places, laws, workplace policies, and hiring practices can cement or challenge those expectations. For instance, women were not allowed to drive in Saudi Arabia for a long time and that’s a classic example of how society places a limitation on women.

As for the shortest poem in this collection, ‘Pick Me Up’ gives a resounding message of unfulfilled desire and the yearning for deeper connection. A powerful yet introspective take on the desire for something deeper than just the physical spark, the poem uncovers how emotions are misunderstood and undervalued by our loved ones.

In its entirety, the collection has a strong feminine thread running through the lines from one poem to another, attempting to stitch open wounds caused by generational abuse of women and the girl-child.

Adeyemi’s passion for a saner society led to her participation in the award winning documentary film, Coconut Head Generation which has afforded her a platform at various film festivals including but not limited to the Cinema Du Reel (Paris), Leeds International Festival, Open City Festival, Human Rights Festival where she sat on different panels on the subject of the instrumentality of art to the reshaping of society and a better world for all human kind.

Her works have been published by the Lolwe, Olongo Africa, Sahara Reporters, Poems from the Heron Clan Anthology Series, Yiaga Africa Beating the Odds III, Cult of Clio and other places.