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Journal articles on the topic 'Art, Yoruba'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 March 2023

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1

Adepoju, Oluwatoyin Vincent. "Adapting Yorùbá Epistemology in Educational Theory and Practice in Nigeria." Yoruba Studies Review 3, no. 1 (December 21, 2021): 1–26. http://dx.doi.org/10.32473/ysr.v3i1.129918.

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What is the value of Yoruba epistemology, theory of knowledge, particularly its philosophy of perception, to humanity in general, and to contemporary Nigeria, in particular? How does Yorùbá epistemology connect with educational theory and practice in Nigeria? This essay recognizes but goes beyond the more general overviews on classical Yoruba education and its contemporary significance represented in works of Yorùbá and Africanist scholars. I demonstrate the significance of Yoruba philosophy of education beyond its cultural context, by projecting its universal and timeless value, foregrounding its distinctive concepts in dialogue with ideas from other cultures. In its engagement with Nigerian educational dynamics, the essay concentrates, first, on Yoruba epistemology in its intersection with ethical and metaphysical perspectives from Yoruba thought. Second, the essay deploys the African art-centered investigations of the role of the senses in relating with art, understood as paradigmatic of navigating the world.

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2

Olaleye-Otunla, Olufemi Joseph, Eyitayo Tolulope Ijisakin, Babasehinde Augustine Ademuleya, and Mosobalaje Oyebamiji Adeoye. "Beyond Frank Willett: The Need for Compositional Analysis of Yoruba Art Objects." Mediterranean Journal of Social Sciences 13, no. 2 (March 5, 2022): 76. http://dx.doi.org/10.36941/mjss-2022-0018.

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Since the pioneering efforts of Frank Willett that examine the Yoruba arts, there remains a yearning gap to holistically investigate the material contents and classification of Yoruba art objects. For proper documentation, information and placement of Yoruba arts, the need for a scientific material compositional analysis of Yoruba arts cannot be overemphasised. This discourse employs a qualitative and evaluative mode of research to emphasize the need, importance and prospects of proper scientific material investigation of Yoruba arts. The study provides information on Frank Willett, the Yoruba people, and relevant studies on the Yoruba arts. It further discusses compositional analysis through the lens of literature, art authentication, and makes a case for authenticating Yoruba art collections. Considering the elegance and importance of African arts and antiquities, the findings of this study show that the provenance of Yoruba art objects has not received adequate attention; this has consequently resulted into illegal excavation, manipulations, and trade of Yoruba art collections. The study concludes that there is utmost importance and necessity for scientific material probing of Yoruba art, if it must go beyond the point where Frank Willett stopped. Hence, the need for all African art historical scholars to prospect for scientific probing of the material contents of Yoruba arts objects. Received: 13 January 2022 / Accepted: 28 February 2022 / Published: 5 March 2022

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3

Okediji, Moyo. "Art of the Yoruba." Art Institute of Chicago Museum Studies 23, no. 2 (1997): 164. http://dx.doi.org/10.2307/4104382.

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4

Stokes, Deborah. "Authorship in Yoruba Art." African Arts 32, no. 4 (1999): 10. http://dx.doi.org/10.2307/3337661.

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5

Abiodun, Rowland. "On the Imperative of Language for Understanding African Art." Yoruba Studies Review 2, no. 2 (December 21, 2021): 1–26. http://dx.doi.org/10.32473/ysr.v2i2.130129.

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I was deeply touched and honored by the roundtable organized at the 2016 African Studies Association Conference to focus on my book, Yoruba Art and Language: Seeking the African in African Art (2014). I want to thank Professor Funṣọ Afọlayan for contacting and bringing together a formidable group of scholars of Yorùbá art and culture to that end. I was gratified that, by and large, all the panelists endorsed my premise on the fundamental importance of language in Yorùbá art studies. The first paper by Moyọ Okediji was a pleasant surprise. Even though this possibility has always existed, as I had taught a course in Yorùbá art entirely in Yorùbá language at the University of Ifẹ (renamed Ọba ̀ ́fẹmi Awo ́ ́lọẃ ọ University) in ̀ the 1980s1 , no one was expecting that his entire contribution to the roundtable discussion would be presented in Yorùbá language. Why not? I realized. The language is as fully developed as any other language in the world and it can, and should be spoken as well as written -- especially when we discuss Yorùbá art. For the benefit of those not literate in Yorùba language, Michael Af ́ ọlayan gave an elegant translation of Okediji’s paper in English. The excellent contents and presentation by Okediji touched on issues that lay at the heart of my book, namely its methodology and its insistence on the need for a Yorùbá voice to be heard literally and metaphorically in art historical discourse.

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6

Duran, Jane. "Yoruba Work and Art Categorization." Philosophia Africana 9, no. 1 (2006): 35–40. http://dx.doi.org/10.5840/philafricana2006919.

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7

Perani, Judith, and Mark Fleming. "Yoruba Art of West Africa." African Arts 21, no. 2 (February 1988): 93. http://dx.doi.org/10.2307/3336548.

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8

Ajíbóyè, Olusegun, Stephen Fọlárànmí, and Nanashaitu Umoru-Ọkẹ. "Orí (Head) as an Expression of Yorùbá Aesthetic Philosophy." Mediterranean Journal of Social Sciences 9, no. 4 (July 1, 2018): 59–70. http://dx.doi.org/10.2478/mjss-2018-0115.

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Abstract Aesthetics was never a subject or a separate philosophy in the traditional philosophies of black Africa. This is however not a justification to conclude that it is nonexistent. Indeed, aesthetics is a day to day affair among Africans. There are criteria for aesthetic judgment among African societies which vary from one society to the other. The Yorùbá of Southwestern Nigeria are not different. This study sets out to examine how the Yorùbá make their aesthetic judgments and demonstrate their aesthetic philosophy in decorating their orí, which means head among the Yorùbá. The head receives special aesthetic attention because of its spiritual and biological importance. It is an expression of the practicalities of Yorùbá aesthetic values. Literature and field work has been of paramount aid to this study. The study uses photographs, works of art and visual illustrations to show the various ways the head is adorned and cared for among the Yoruba. It relied on Yoruba art and language as a tool of investigating the concept of ori and aesthetics. Yorùbá aesthetic values are practically demonstrable and deeply located in the Yorùbá societal, moral and ethical idealisms. It concludes that the spiritual importance of orí or its aesthetics has a connection which has been demonstratively established by the Yorùbá as epressed in the images and illustrations used in this paper.

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9

Cowcher, Kate. "Trash Talking: Yoruba Art beyond Beauty." Art History 35, no. 4 (August 9, 2012): 860–62. http://dx.doi.org/10.1111/j.1467-8365.2012.00925.x.

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10

Picton, John. "Yoruba: A Celebration of African Art." African Arts 25, no. 1 (January 1992): 82. http://dx.doi.org/10.2307/3337025.

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11

Ozah, Marie Agatha, and David Bolaji. "Towards an Authentic Nigeria Hymnody: The Study of Yoruba Hymnody." East African Journal of Arts and Social Sciences 2, no. 1 (August 29, 2020): 67–72. http://dx.doi.org/10.37284/eajass.2.1.202.

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The indigenous hymnology has experienced a lot of tonality distortion in Nigeria due to the direct translation of Western hymn tunes to the indigenous hymns. Different scholars have identified this act of perversion, but little or no documentation can be found on the method(s) that can be used in correcting this perverse act. The focus of this paper is on Yoruba hymnody. In this light, the paper examines and discuss the abnormality found in Yoruba indigenous hymns, through an analytical content of three selected indigenous Yoruba hymns and propounds methods and implementation strategies towards correcting the aforementioned act of perversion. Findings revealed that most of the indigenous hymns had been distorted in meaning due to the deformation of the indispensable Yoruba tone language. The paper discusses and draws out specific lessons that would serve as channels and even methods for consideration during composition, especially by Nigerian art composers. Tackling this challenge from a unanimous perspective, the effort will address the articulation and use of tonal inflexions in Yoruba Nigerian hymns.

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12

Murphy, Joseph M. "yoruba art and language: seeking the african in african art." Material Religion 12, no. 3 (July 27, 2016): 392–93. http://dx.doi.org/10.1080/17432200.2016.1192142.

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13

Olaniyan, Tejumola. "Yoruba Art and Language: Seeking the African in African Art." African Studies Review 58, no. 3 (November 23, 2015): 215–23. http://dx.doi.org/10.1017/asr.2015.83.

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14

Táíwò, Olúfẹ́mi. "Yoruba art and language: Seeking the African in African art." Journal of the African Literature Association 14, no. 1 (July 30, 2019): 156–63. http://dx.doi.org/10.1080/21674736.2019.1639993.

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15

III, John Pemberton. "Art and Rituals for Yoruba Sacred Kings." Art Institute of Chicago Museum Studies 15, no. 2 (1989): 96. http://dx.doi.org/10.2307/4113015.

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16

Drewal, Margaret Thompson, and Henry John Drewal. "Composing time and space in Yoruba art." Word & Image 3, no. 3 (July 1987): 225–51. http://dx.doi.org/10.1080/02666286.1987.10435383.

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17

Drewal, Margaret Thompson. "Art and Trance among Yoruba Shango Devotees." African Arts 20, no. 1 (November 1986): 60. http://dx.doi.org/10.2307/3336567.

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18

Aransi, Ayoola Oladunnke, and Hakeem Olawale. "Women in Obasá’s Poetry." Yoruba Studies Review 5, no. 1 (December 21, 2021): 1–13. http://dx.doi.org/10.32473/ysr.v5i1.130067.

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Obasá’s creativity cuts across virtually all aspects of Yorùbá socio-cultural ̣ settings and his works have attracted the attention of various scholars. It is evident that his poems are laden with topical issues that are of national interest. Most of his works, as described by previous scholars, are based on his love for and interest in Yorùbá language, social values, language, style, cultural practices, and the recovery endangered Yoruba oral art (Babalolá 1971, ̣ 1973; Olábimtán 1974a, 1974b; Ògúnsínà 1980; O ̣ látúnji 1982; Akínye ̣ mí 1987, ̣ 1991, 2017; and Nnodim 2006). Tis essay focuses on the representation of women in Obas ̣ á’s poetry, a topic that has not been given adequate attention. ̣ The essay attempts a close reading of Obas ̣ á’s poems within the Feminism and ̣ womanism theoretical frameworks. The research reveals that the representation of women in the poetry of Obasa did not go beyond the stereotypical and derogatory portrayal of women among the Yoruba.

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19

Fajuyigbe, Michael Olusegun. "Contemporary Painting as Reflector of Yoruba Cultural Values." Yoruba Studies Review 7, no. 2 (January 19, 2023): 1–28. http://dx.doi.org/10.32473/ysr.7.2.132806.

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Every art form reflects the values of the cultural background that produces it, and visual culture in its present state is based on art and values from the past. This paper, therefore, examines the re-invention of culture and distinctive cultural ideals in contemporary Nigerian art. Specifically, it pinpoints contemporary Yorùbá paintings as visual markers of the Yorùbá value system. The study traces the origin of painting in Africa, from its earliest forms in African caves, shrines, and palaces, through the colonial and postcolonial eras to the present. Based on their contexts, eight (8) paintings that portray specific values of the Yorùbá and are ingrained with symbolic motifs, patterns and imageries are selected. Formal and contextual methods in art history are employed in the analysis of the data. The selected paintings serve as a visual document of the Yorùbá belief system; while contemporary Yorùbá artists are shown to consistently draw from their culture and design resources to establish a connection between the past and the present. The paper concludes that contemporary Nigerian art, generally, reveals new perspectives and meanings regarding art, culture, and identity in a fast-changing, multi-ethnic society like Nigeria

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20

Hackett, Rosalind I. J., Henry John Drewal, John Pemberton III, and Rowland Abiodun. "Yoruba: Nine Centuries of African Art and Thought." Journal of Religion in Africa 21, no. 3 (August 1991): 280. http://dx.doi.org/10.2307/1580826.

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21

Hunt, Charles, Henry J. Drewal, and Margaret T. Drewal. "Gelede. Art and Female Power among the Yoruba." Journal of Religion in Africa 18, no. 1 (February 1988): 92. http://dx.doi.org/10.2307/1580838.

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22

Welch, David B., Henry John Drewal, and Margaret Thompson Drewal. "Gelede: Art and Female Power among the Yoruba." Ethnomusicology 29, no. 1 (1985): 116. http://dx.doi.org/10.2307/852330.

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23

Blier, Suzanne Preston. "Art in Ancient Ife, Birthplace of the Yoruba." African Arts 45, no. 4 (December 2012): 70–85. http://dx.doi.org/10.1162/afar_a_00029.

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24

Okediji, Moyo. "The Naked Truth: Nude Figures in Yoruba Art." Journal of Black Studies 22, no. 1 (September 1991): 30–44. http://dx.doi.org/10.1177/002193479102200104.

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25

Drewal, Henry John, John Pemberton III, and Rowland Abiodun. "Yoruba: Nine Centuries of African Art and Thought." African Arts 23, no. 1 (November 1989): 68. http://dx.doi.org/10.2307/3336802.

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26

Walker, Roslyn Adele. "Yoruba: Nine Centuries of African Art and Thought." African Arts 23, no. 3 (July 1990): 79. http://dx.doi.org/10.2307/3336833.

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27

Yai, Olabiyi Babalola, Henry John Drewal, John Pemberton III, Rowland Abiodun, and Allen Wardwell. "Yoruba: Nine Centuries of African Art and Thought." African Arts 25, no. 1 (January 1992): 20. http://dx.doi.org/10.2307/3337016.

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28

Kasfir, Sidney Littlefield, Henry John Drewal, and Margaret Thompson Drewal. "Gelede: Art and Female Power among the Yoruba." International Journal of African Historical Studies 18, no. 2 (1985): 350. http://dx.doi.org/10.2307/217760.

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29

Odetade, Tayo, and Fasinu Olusegun. "Indigenous Yoruba Popular Music As An Agent For Socio Re-Orientation: An Examination of Saheed Osupa’s Fuji Music." International Journal of English and Comparative Literary Studies 2, no. 4 (July 20, 2021): 1–13. http://dx.doi.org/10.47631/ijecls.v2i4.260.

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This paper explores Fuji popular music as a tool for socialization within the current Yoruba cultural setting using the content exploration approach mode. Much of the traditional elements are embedded in the lyrics of Fuji musicians. Each Fuji musician digs experiments with the Yoruba culture to make the brand of Fuji music distinct from others. Saheed Osupa is a Fuji musician whose lyrics are laced with different sorts of Yoruba socio-cultural values. These values include proverbs, folktales, folklores, riddles, witty sayings, etc. The paper concludes that apart from being a vibrant art form in the popular literature sub-genre, the contents of the Fuji music can also serve pedagogical and other educational purposes in the present-day setup.

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30

Afolayan, Michael O. "Yoruba Epistemology, Art, Language and the Universe of Meanings: A Meta-Analysis." Yoruba Studies Review 2, no. 2 (December 21, 2021): 1–15. http://dx.doi.org/10.32473/ysr.v2i2.130127.

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I had the rare privilege of delivering in proxy the original paper of Professor Moyo Okediji at the African Studies Association meeting, where it was first presented on December 2, 2016. Although short in quantity, I consider it to be loaded in quality, contents, intents, intensities, and in its ability to problematize a discourse critical to our understanding of indigenous scholarship and all its epistemological implications that span the entire landscape of the humanities. Indeed, Okediji’s pedagogy is the proverbial Yoruba drum of “ògìdìgbó” which is revealed only to the wise and the prudent, and they are the only two capable of effectively dancing to its rhythm. The paper reminds one of the title of the memoir of Ellen DeGeneres, the famous American comedian, titled Seriously . . . I’m Kid[1]ding. Even as a non-apologist of Ellen DeGeneres, or of any other American comedian for that matter, one would find profound meaning to that title, and embrace it as very deep and philosophical. Like in many Shakespearean plays, many truths are expressed in the acts of the jesters, not in the court of the privileged kings and pundits. This is exactly the way I responded to Okediji’s beautiful write-up. It got me thinking. It is a needed shock therapy, an organic rendition of an intellectual exposition of the Yoruba art. This commentary is janus-faced. On one hand, it looks at the unique way in which Moyo Okediji critiqued the work of Rowland Abiodun, Yoruba Art and Language: Seeking the African in African Art. On the other, it concurs with Abiodun’s thesis of the indispensability of the Yoruba language and oral tradition in the understanding of the Yoruba art. In his contribution to the roundtable forum on Professor Abiodun’s book at the African Studies Association in Washington, DC (December 1-3, 2016), Okediji provided his full presentation in Yoruba language, unalloyed (see the first essay in this forum). In order to broaden the scope of his readership and audiences, I chose to translate his write-up to the English language (Appendix 1). However, I used the translation to underscore the challenges of inter-cultural interpretation. The translation process demonstrates the problem of using one language to dissect another language without the depth of knowledge of the cultural make-up of the originator of the text. The attempt provides the data in which we are able to draw conclusions on a variety of issues: One, it highlights the futility of translation of a cultural theme at any level; two, it speaks to the frustration inherent in the imposition of one language over the art and culture of another; and three, it demonstrates the need for a cultural understanding between the originator of a text and the translator as precluding any reasonable translation and/or interpretation of the text. Using my attempt at translating as an example, I argue that at the very best what my effort could produce was an interpretation rather than a translation of Okediji’s text. I then argue that Okediji’s text brings to light the main thrust of Abiodun’s argument, which is that the indigenous language that births the art and culture of a people is the only channel through which the said art and culture could be most accurately interpreted or critiqued. Any attempt at superimposing other languages on the art can only result in a secondary, if not tertiary, interpretation and consequently a watered-down version of the original. The corollary is that such attempt will of necessity tamper with the sacred epistemological authenticity of the language-art-culture continuum.

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31

Olajide, Makinde David. "Iconography of Yoruba Indigenous Proverbs for Sustainable art Practices." IOSR Journal of Humanities and Social Science 21, no. 08 (August 2016): 22–32. http://dx.doi.org/10.9790/0837-2108062232.

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32

Abiodun, Rowland. "Understanding Yoruba Art and Aesthetics: The Concept of Ase." African Arts 27, no. 3 (July 1994): 68. http://dx.doi.org/10.2307/3337203.

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33

Cameron, Elisabeth L. "The River Shall Never Rest. Transitions in Yoruba Art." African Arts 21, no. 4 (August 1988): 81. http://dx.doi.org/10.2307/3336753.

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Adewumi, Kehinde. "If Bronze, Why Not Wood? A Case for the Repatriation of the Yoruba Ere Ibeji." African Journal of Inter/Multidisciplinary Studies 4, no. 1 (2022): 30–39. http://dx.doi.org/10.51415/ajims.v4i1.954.

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In light of the current trend of repatriation of illegally acquired African art which are scattered all over galleries and museums in Europe and the Americas, consideration should also be given to the Ere Ibeji of the Yoruba. These figures are not mere objects of curiosity for Western fascination, but they are strongly tied to the birth and death of twins in Yoruba culture. This paper seeks to revisit this tradition based on literature, in line with its resultant art forms in a bid to contribute to the gamut of existing knowledge on the Yoruba twin tradition, as well as to (re)generate contemporary understanding(s) of the subject matter. Perhaps, this will aid the understanding of the significance of Ere Ibeji to the Yoruba; thereby contributing to the call for their return. The paper recommends that local preparation for the return of these artefacts should include training and re-training of the museum custodians of the cultural objects, construction, and renovation of structures to house the artefacts, and the reinforcement of legal frameworks to protect the cultural objects from illegal displacement. The paper concludes with a note that the return of looted artefacts should not begin and end with the bronzes of Benin and Ife alone, these wooden effigies from the western part of Nigeria also matter.

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35

Oladosu, Olusegun Adebolu. "An Aesthetic Visualization of Ritual Ordering among the Yoruba Drummer: A Medium of Life Celebration." Yoruba Studies Review 5, no. 1.2 (December 21, 2021): 1–17. http://dx.doi.org/10.32473/ysr.v5i1.2.130112.

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The gatherings among Yoruba people depicting religion, social or political values are usually staged with drumming. At the center of this art are the professional drummers with the cult identity of àyàn. The display, ordering and aesthetic of drumming are usually often come with some rituals during passages of life which are frequently unknown to the non-initiates. The study underscores the significant of ritual that are connected to birth, puberty, middle stage and death which are very important to life stages among the Yoruba people. It highlights the role of ritual rites in the profession of drumming in a selected town in Yoruba land. The paper use in-depth interview, participant observation, archival materials and ethnographic methods to generate data needed for its analysis. Tis paper through phenomenological analysis will process the data collected.

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BolanleTajudeen, Opoola. "Incantation as a Means of Communication in Yorùbá Land: ‘Eégún Aláré’ as a Case Study." International Journal of Comparative Literature and Translation Studies 7, no. 2 (April 30, 2019): 67. http://dx.doi.org/10.7575/aiac.ijclts.v.7n.2p.67.

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Yorùbá oral literature is of three categories namely chant, song and recitation. This paper, therefore, focused on incantation as a means of communication among the masquerades in Yorùbá land with its data drawn from “Eégún Aláré”, a Yorùbá novel. Incantation is a combination of carefully arranged speeches or words in a poetic form and its use makes things work miraculously as the users wish or words that make human wishes come to reality with immediate effect. Before Christianity and Islam gained prominence in the Yorùbá society, Alárìnjó masquerades were among the well known traditional public entertainers and that during performances, incantation was often used to know who is who among the masquerades. However, Christianity and Islam have made the use of incantation, as a means of communication during masquerade performances, a thing of the past and what used to be a family profession in the past is no longer so because members of the Ọ̀jẹ̀ families who were in charge of this cultural profession in the past have now been converted to either Christianity or Islam or have been negatively influenced by Western education. This study nullifies the communication chain as the person to whom incantation is directed does not need to understand the language of the person that uses the incantation as the feed back would be the effect of the incantation in positive or negative form. The essence of this paper is to promote Yoruba oral literature through formal documentation of incantation as a Yoruba linguistic verbal art.

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Granzotto, Clara, Ken Sutherland, Young Ah Goo, and Amra Aksamija. "Characterization of surface materials on African sculptures: new insights from a multi-analytical study including proteomics." Analyst 146, no. 10 (2021): 3305–16. http://dx.doi.org/10.1039/d1an00228g.

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Multiple analytical techniques, including proteomics, were used to characterize materials from the surfaces of two African sculptures in the collection of the Art Institute of Chicago: a Bamana power object (boli), and a Yoruba wooden sculpture.

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38

Smith, Katherine. "African Religions and Art in the Americas." Nova Religio 16, no. 1 (August 1, 2012): 5–12. http://dx.doi.org/10.1525/nr.2012.16.1.5.

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This print symposium of Nova Religio is devoted to African religions and arts in the Americas, focusing specifically on devotional arts inspired by the Yoruba people of West Africa. The authors presented here privilege an emic approach to the study of art and religion, basing their work on extensive interviews with artists, religious practitioners, and consumers. These articles contribute an understanding of devotional arts that shows Africa, or the idea of Africa, remains a powerful political and aesthetic force in the religious imagination of the Americas.

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39

Lawal, Babatunde. "Èjìwàpò: The Dialectics of Twoness in Yoruba Art and Culture." African Arts 41, no. 1 (March 2008): 24–39. http://dx.doi.org/10.1162/afar.2008.41.1.24.

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40

Borgatti, Jean M., and Moyo Okediji. "The Shattered Gourd: Yoruba Forms in Twentieth-Century American Art." International Journal of African Historical Studies 36, no. 2 (2003): 492. http://dx.doi.org/10.2307/3559421.

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41

Allsworth-Jones, P. "Continuity and Change in Yoruba Pottery." Bulletin of the School of Oriental and African Studies 59, no. 2 (June 1996): 312–22. http://dx.doi.org/10.1017/s0041977x00031591.

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Mrs. A.K. Fatunsin's Yoruba pottery (Lagos, 1992) is the outcome of a project funded by the Ford Foundation (grant no. 875–1066) as part of its continuing programme ‘to preserve and interpret diverse aspects of West Africa's cultural heritage’. The intention of the project as suggested to them in 1985 by this author was that it should ‘go beyond the mere collection of artefacts’. Emphasis was to be ‘placed on techniques of pottery manufacture, sources and types of raw material, methods of forming the pots, decoration and firing, as well as forms and functions including the designated names for the pots in the different parts of the Yoruba speaking area.’ Also investigated would be the uses to which the pots were put; and the organization, beliefs and customs of the potters themselves. The monograph resulting from the work would be designed to show pots ‘not just as art objects but as basic components of the entire economic, social, and religious life of the people’.

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42

Lawal, Babatunde. "Aworan: Representing the Self and Its Metaphysical Other in Yoruba Art." Art Bulletin 83, no. 3 (September 2001): 498. http://dx.doi.org/10.2307/3177240.

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43

Stokes, Deborah. "Beads, Body, and Soul: Art and Light in the Yoruba Universe." African Arts 31, no. 4 (1998): 78. http://dx.doi.org/10.2307/3337652.

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Sègla, Aimé Dafon. "Mobile apps for the illiterate." TATuP - Zeitschrift für Technikfolgenabschätzung in Theorie und Praxis 28, no. 2 (July 8, 2019): 50–51. http://dx.doi.org/10.14512/tatup.28.2.s50.

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Mobile phones and web digital tools contribute to the personal development of the individual and his or her capacity to develop initiatives e. g. for economic growth. Yet, many people cannotbenefit from new technologies as digital services in sub-Saharan Africa are mostly configured in foreign languages. Illiteracy and language barriers remain a major challenge for digitalization inAfrica. However, the case of Yoruba illiterates in the central Republic of Benin shows that indigenous people are innovative and create new procedural knowledge. They have developed alternative strategies to benefit from information and communications technology (ICT). Based on approximately 50 interviews with traders, peasants, art craft (wo)men, and members of convents, my ethnographic research explores how the Yoruba people of Benin utilize mobile phones in their mother tongue.

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Bejide, Oluwatoyin Abiola, Olaleye, Franklyn Akinola, and Adekoya, Adeola Ojo. "The Influence of Television Advertising in the Promotion of Yoruba Attires in Ondo State: a Study of NTA Akure." International Journal of Social Sciences and Humanities Invention 6, no. 12 (December 19, 2019): 5746–58. http://dx.doi.org/10.18535/ijsshi/v6i12.02.

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This project is based on the influence of television advertising in the promotion of yoruba attires in Ondo State, “a study of NTA Akure”. The research work review related literature and was anchored on persuasive media and cultural conservative theories. It also employed survey design and questionnaire was administered to respondents of the selected three local government areas in Ondo State, but out of the 400 copies of questionnaire administered, 370 was duely attested and recovered for data analysis. The findings revealed that, NTA Akure advertising positively influenced the promotion of Yoruba attires in Ondo State. The study also revealed that, the level of the level of cognizance giving to the promotion of traditional attires especially Aso-Oke by NTA Akure is low. The study concludes that, television advertising has positively influenced the promotion of traditional attires in Yoruba society through assessment of NTA Akure viewers. This research work recommends that, NTA Akure should give much more cognizance to the promotion of the traditional attires through advertisement programme. It also recommends that the Ministry of Art and Culture in Ondo State should see NTA Akure as a medium through which cultural heritage especially traditional attires can be promoted.

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Adepoju, Oluwatoyin Vincent. "Epistemic Roots, Universal Routes and Ontological Roofs of African “Ritual Archives”: Disciplinary Formations in African Thought." Yoruba Studies Review 3, no. 1 (December 21, 2021): 1–41. http://dx.doi.org/10.32473/ysr.v3i1.129934.

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One may compose an essay on another essay, and possibly an even longer one than the essay being studied, long as that one is, when one is confronted with one of those things one has to say something about after encountering them. “Ritual Archives”, the climatic conclusion of the account in The Toyin Falola Reader ( Austin: Pan African University, 2018), of the efforts of Africa and its Americas Diaspora to achieve political, economic, intellectual and cultural individuality, is a deeply intriguing, ideationally, structurally and stylistically powerful and inspiring work, rich with ideas and arresting verbal and visual images. His focus is Africa and its Diaspora, but his thought resonates with implications far beyond Africa, into contexts of struggle for plurality of vision outside and even within the West, the global dominance of whose central theoretical constructs inspires Falola’s essay. “Ritual Archives”, oscillates between the analytical and the poetic, the ruminative and the architectonic, expressive styles pouring out a wealth of ideas, which, even though adequately integrated, are not always adequately elaborated on. This essay responds to the resonance of those ideas, further illuminating their intrinsic semantic values and demonstrating my perception of the intersections of the concerns they express with issues beyond the African referent of “Ritual Archives”. This response is organized in five parts, representing my understanding of the five major thematic strategies through which the central idea is laid out and expanded. 316 Oluwatoyin Vincent Adepoju The first section, “Developing Classical African Expressions as Sources of Locally and Universally Valid Theory” explores Falola’s advocacy for an expanded cultivation of theory from Africa created and Africa inspired expressive forms. “Epistemic and Metaphysical Integrity in Ifá”, the second part, examines his argument for a re-centering of studies in classical African thought within the epistemic and metaphysical frames of those bodies of knowledge, using the Yoruba origin Ifá system of knowledge, spiritual development and divination as an example, an illustration I analyze through my own understanding of the cognitive and metaphysical framework of Ifá. The third unit, “Falola’s Image Theory and Praxis, Image as Archive, Image as Initiator”, demonstrates Falola’s dramatization of the cognitive possibilities of works of art as inspirers of theory, exemplified by a figurine of the Yoruba origin òrìṣà cosmology, the deity Esu. This is the most poetic and one of the most imaginatively, ideationally evocative and yet tantalizingly inadequately elaborated sections of “Ritual Archives”, evoking continuities between Yoruba philosophy, òrìṣà cosmology and various bodies of knowledge across art and image theory and history, without expanding on the ideas or building them into a structure adequately responsive to the promise of the ideas projected, a foundation I contribute to developing by elucidating my understanding of the significance of the ideas and their consonance with related conceptions and issues from Asian, Western and African cultures. I also demonstrate how this section may contribute to clarification of the nature of Yoruba philosophy understood as a body of ideas on the scope of human intelligibility and the relationship between that philosophy and òrìṣà cosmology, an expansive view of the cosmos developed in relation to the philosophy. This is a heuristic rather than an attempt at a definitive distinction and is derived from the relationship between my practical and theoretical investigation of Yoruba epistemology and Falola’s exploration, in “Ritual Archives”, of a particularly strategic aspect of òrìṣà cosmology represented by Esu. The distinction I advance between Yoruba philosophy and òrìṣà cosmology and the effort to map their interrelations is useful in categorizing and critically analyzing various postulates that constitute classical Yoruba thought. This mapping of convergence and divergence contributes to working out the continuum in Yoruba thought between a critical and experiential configuration and a belief system. The fourth section, “The Institutional Imperative”, discusses Falola’s careful working out of the institutional implications of the approach he advocates of developing locally and universally illuminating theory out of endogenous African cultural forms. The fifth part, “Imagistic Resonance”, presents Falola’s effort to make the Toyin Falola Reader into a ritual archive, illustrating his vision for African art as an inspirer of theory, by spacing powerful black and white pictures of forms of this art, mainly sculptural but also forms of Epistemic Roots, Universal Routes and Ontological Roofs 317 clothing, largely Yoruba but also including examples from other African cultures, throughout the book. Except for the set of images in the appendix, these artistic works are not identified, nor does the identification of those in the appendix go beyond naming them, exclusions perhaps motivated by the need to avoid expanding an already unusually big book of about 1,032 pages of central text. I reproduce and identify a number of these artistic forms and briefly elaborate on their aesthetic force and ideational power, clarifying the theoretical formations in which they are embedded and exploring the insights they could contribute to theory beyond their originating cultures. “Ritual Archives” is particularly important for me because it elucidates views strategic to my own cognitive explorations and way of life but which I have not been able to articulate with the ideational comprehensiveness and analytical penetration Falola brings to the subject of developing theory from endogenous African cultural expressions, exemplified by Ifá and art, two of my favorite subjects

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Folabalogun, Morenike. "Art, Symbol and Royalty: A Case Study of the Yoruba Speakers in Nigeria." AFRREV IJAH: An International Journal of Arts and Humanities 6, no. 1 (February 28, 2017): 162. http://dx.doi.org/10.4314/ijah.v6i1.14.

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Picton, John. "Art and Risk in Ancient Yoruba: Ife History, Power, and Identity, c. 1300." African Arts 51, no. 2 (June 2018): 92–95. http://dx.doi.org/10.1162/afar_r_00409.

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Adepitan, Titi. "Principles of Traditional African Art in Yoruba Thorn Wood Carvings: Conversations with Titi Adepitan." Research in African Literatures 34, no. 1 (March 2003): 96–125. http://dx.doi.org/10.2979/ral.2003.34.1.96.

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Adejumo, Christopher O. "Artistic and Cultural Impacts of Western-Style Art Instruction in Yoruba Schools in Nigeria." Studies in Art Education 63, no. 2 (April 3, 2022): 85–96. http://dx.doi.org/10.1080/00393541.2022.2050984.

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