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Journal articles on the topic 'Orature'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Akinsola, Ifeoluwa Theophilus. "Resource-Person-Mediated Instruction and Secondary Students’ Learning Outcomes in Yorùbá Orature: A Culturally Responsive Education." Education Sciences 15, no. 6 (2025): 661. https://doi.org/10.3390/educsci15060661.

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There is an ongoing global call for culturally responsive pedagogy that helps promote inclusivity in education. Yet, indigenous languages and literature are heavily marginalized in Nigeria’s Western education system. For instance, many students have poor learning outcomes in Yorùbá orature due to the negative effects of Westernization and the overdominance of the English language. Therefore, this study aimed to design and test the effects of a resource-person-mediated instruction as a form of culturally responsive education on junior secondary students’ learning outcomes in Yorùbá orature. Thi

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2

Akinsola, Ifeoluwa. "Theatre-in-Education packages and secondary students’ knowledge of Yoruba orature in Ibadan metropolis." African Journal of Teacher Education 13, no. 3 (2024): 169–91. https://doi.org/10.21083/ajote.v13i3.7926.

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This study was carried out to determine the effects of two Theatre-in-Education Packages (TiEPs) (Devised-for-students and Devised-by-students) on secondary students’ knowledge of Yoruba orature in the Ibadan metropolis, Nigeria. The moderating effects of Motivation for Yorùbá Orature (MYO) was also examined. The study adopted the Quasi experimental research design of the 3X2 factorial matrix. Three Local Government Areas (LGAs), out of the five existing in the Ibadan metropolis, were randomly selected. The simple random sampling technique was used to select six secondary schools (two from eac

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3

Mnenuka, Angelus. "Fluidity and fixity of performer, audience and performing space." Umma: The Journal of Contemporary Literature and Creative Art 8, no. 1 (2021): 37–54. http://dx.doi.org/10.56279/ummaj.v8i1.3.

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Performance Theory is one of the theories which have by far removed several inconsistencies and contradictions in analysing orature, notably African orature. Unlike former theories which took texts as a basis in interpreting orature, Performance Theory considers performance as a socially situated aesthetic communication between the performer and the audience both of whom participate in the process as active agents. However, some of its notions are heavily influenced by western theatre. Consequently, some conceptual details go unnoticed because, instead of enriching the notions from the first-h

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4

F. Fiona Moolla. "When Orature Becomes Literature:." Comparative Literature Studies 49, no. 3 (2012): 434. http://dx.doi.org/10.5325/complitstudies.49.3.0434.

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5

Cello, Serena. "Slammeurs et public : une coparticipation performative." Altre Modernità, no. 28 (November 30, 2022): 342–50. http://dx.doi.org/10.54103/2035-7680/19183.

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Apparu vers la fin des années 1980 aux États-Unis et arrivé une décennie après en France, le slam est une pratique d’écriture et d'art oratoire mêlant poésie et spectacle vivant. Depuis deux décennies, c’est l’une des formes les plus émergentes de la littérature orale, une néo-orature (Bobillot, Quand 114) qui présente ses formes esthétiques, des règles et un contrat de communication spécifique. Après bref rappel historique, notre analyse se propose d’explorer ses modalités performatives nous focalisant en particulier sur les dynamiques de cocréation poétique qui naissent de l’influence

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6

Lahaye, Tito. "Recitative Literature or Guaraní Orature." Bible Translator 54, no. 4 (2003): 401–7. http://dx.doi.org/10.1177/026009430305400401.

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7

Horn, Peter. "Orature, Literature and the Media." Journal of Literary Studies 10, no. 1 (1994): 75–85. http://dx.doi.org/10.1080/02564719408530066.

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8

Knowles-Borishade, Adetokunbo F. "Paradigm for Classical African Orature." Journal of Black Studies 21, no. 4 (1991): 488–500. http://dx.doi.org/10.1177/002193479102100408.

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9

Okuyade, Ogaga. "Aesthetic Metamorphosis Oral Rhetoric in the Poetry of Tanure Ojaide." Matatu 40, no. 1 (2012): 33–50. http://dx.doi.org/10.1163/18757421-040001003.

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The writer's imaginative craft is usually inspired and shaped by the environment s/he hails from. This in turn gives room for constant communication between the creative mind and the immediate physical social world; the environment becomes a determinant of the writer's experiences. The influence of the Urhobo oral tradition on the poetic corpus of Tanure Ojaide is remarkable. The poet's cultural background occupies a looming space in his choices of generic style. Close examination of Ojaide's poetry reveals the exploration and appropriation of the orature of the Urhobo people, which ranges fro

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10

Adéèkó, Adélékè. "Theory and Practice in African Orature." Research in African Literatures 30, no. 2 (1999): 222–27. http://dx.doi.org/10.2979/ral.1999.30.2.222.

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11

Gueye, Khadidiatou. "The Slave's Rebellion: Fiction, History, Orature." Comparative Literature Studies 44, no. 3 (2007): 324–26. http://dx.doi.org/10.2307/complitstudies.44.3.0324.

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12

Liebhaber, Sam. "Acoustic spectrum analysis of Mahri orature." Brill’s Journal of Afroasiatic Languages and Linguistics 9, no. 1-2 (2017): 106–18. http://dx.doi.org/10.1163/18776930-00901012.

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The question of the metrical organization of Arabian vernacular orature has historically been defined by two approaches: one holds that its metrical system is based on patterned beats of stress, while the other proposes regular alternations of long and short vowels. In this article, I describe some preliminary experiments in using a digital method to derive visual spectrograms of the same lines of Mahri poetry performed in two different modes: chanting and recitation. Given the discrepancy in results between the two, my findings suggest that the organizational rhythm of bedouin vernacular poet

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13

Adeeko, Adeleke. "Theory and Practice in African Orature." Research in African Literatures 30, no. 2 (1999): 222–27. http://dx.doi.org/10.1353/ral.2005.0055.

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14

Miller, Christopher L. "The Slave's Rebellion: Literature, History, Orature." Slavery & Abolition 28, no. 2 (2007): 289. http://dx.doi.org/10.1080/01440390701428063.

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15

Stanforth, Sherry Cook. "Orature and Whole Vision in Seven Arrows." MELUS 21, no. 2 (1996): 107. http://dx.doi.org/10.2307/467953.

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16

Thiong'o, Ngũgĩ Wa. "Notes towards a Performance Theory of Orature." Performance Research 12, no. 3 (2007): 4–7. http://dx.doi.org/10.1080/13528160701771253.

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17

Azodo, Ada Uzoamaka. "African Women's Literature: Orature and Intertextuality (review)." Research in African Literatures 33, no. 1 (2002): 187–89. http://dx.doi.org/10.1353/ral.2002.0007.

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18

Owomoyela, Oyekan. "The Slave's Rebellion: Fiction, History, Orature (review)." Research in African Literatures 37, no. 4 (2006): 238–39. http://dx.doi.org/10.1353/ral.2006.0098.

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19

Gueye, Khadidiatou. "The Slave's Rebellion: Fiction, History, Orature (review)." Comparative Literature Studies 44, no. 3 (2007): 324–26. http://dx.doi.org/10.1353/cls.2007.0059.

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20

Duan, Jing. "Sound Presentation of the Silent History: Orature in Yvonne Vera’s The Stone Virgins." CEA Critic 86, no. 2 (2024): 109–22. http://dx.doi.org/10.1353/cea.2024.a931451.

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Abstract: In her novel The Stone Virgins , Zimbabwean author Yvonne Vera provides a model of orature writing by using sound in the interaction between literature and history as well as literature and politics. This essay will principally draw on the ideas of Kenyan author Ngugi Wa Thiong’o as well as Roland Barthes’ ideas about listening to analyze this effect. As a medium of oral tradition that carries traditional aesthetic and cultural values throughout the text, sound and its spatiotemporal framework establish an interpretative community among the author, the character, and the reader. In t

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21

Keino, Miriam, Onyango V. Ouno, and Selline Oketch. "A Thematic Exploration of Digi-orature: A Case of Zerato Tales." International Journal of Research Publication and Reviews 4, no. 8 (2023): 855–60. http://dx.doi.org/10.55248/gengpi.4.823.50385.

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22

Tajudeen, Opoola Bolanle, and Kadiri Razak Aare. "Deploying Orature to Meet the Challenges of Unemployment in Nigeria." International Journal of Education and Literacy Studies 7, no. 2 (2019): 144. http://dx.doi.org/10.7575/aiac.ijels.v.7n.2p.144.

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Nigeria in the last three decades has had to grapple with the perennial problem of unemployment. This is not uncommon among developing nations considering the legacy bequeathed by the colonial masters. The widespread exploitation and misadventure in the African continent, defective political structure and the political elites that continued the exploitative tendencies of their masters remain a sad commentary. It is on this premise that this study intends to interrogate the problem of unemployment from within. The literary theory is pluriversalism while the teaching learning theory adopted was

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23

Akoma, Chiji. "Proverbs in African Orature, by Ambrose Adikamkwu Monye." Research in African Literatures 42, no. 1 (2011): 187–88. http://dx.doi.org/10.2979/ral.2011.42.1.187.

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24

Azuonye, Chukwuma, and Ambrose Adikamkwu Monye. "Proverbs in African Orature: The Aniocha-Igbo Experience." International Journal of African Historical Studies 32, no. 2/3 (1999): 538. http://dx.doi.org/10.2307/220420.

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25

Ajibade, George Olusola. "Same-Sex Relationships in Yorùbá Culture and Orature." Journal of Homosexuality 60, no. 7 (2013): 965–83. http://dx.doi.org/10.1080/00918369.2013.774876.

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26

Roper, Jonathan. "English Orature, English Literature: the Case of Charms." Folklore: Electronic Journal of Folklore 24 (2003): 50–61. http://dx.doi.org/10.7592/fejf2003.24.engcharm.

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27

Dibaba, Assefa Tefera. "Oromo Orature: An Ecopoetic Approach, Theory and Practice (Oromia/Ethiopia, Northeast Africa)." Humanities 9, no. 2 (2020): 28. http://dx.doi.org/10.3390/h9020028.

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Using available empirical data of Oromo Orature, particularly folksongs, obtained from the field through interview and observation in Oromia, central Ethiopia, in 2009 and 2010, and other sources in print, this study has two objectives to tackle. First, reflecting upon the questions of a native model of origin narratives in relation to ecology, this study examines some examples of Oromo ecopoetics to determine: (a) how ecology and creative process conspire in the production of folksongs and performance, and (b) how the veil of nature hidden in the opacity of songs is revealed through the rites

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28

Steel, Catherine. "IV The Orator's Education." New Surveys in the Classics 36 (2006): 63–77. http://dx.doi.org/10.1017/s0017383506000210.

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The order of chapters in this book may seem paradoxical: the finished orator is considered before the processes by which he reached that state are examined. The order is indeed back-to-front from the perspective of an individual orator's trajectory, whose training must inevitably precede his activity. But in the wider context of an attempt to understand the nature of oratorical training in the Roman world it makes sense to move from the practising orator back to the embryonic form, since the expectations and norms imposed on the fully fledged orator are the foundations which support the system

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29

Na'Allah, Abdul-Rasheed. "Interpretation of African Orature: Oral Specificity and Literary Analysis." Alif: Journal of Comparative Poetics, no. 17 (1997): 125. http://dx.doi.org/10.2307/521610.

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30

Ngongkum, Eunice. "Urban orature and resistance: The case of Donny Elwood." Tydskrif vir Letterkunde 54, no. 2 (2017): 61–73. http://dx.doi.org/10.17159/2309-9070/tvl.v.54i2.1229.

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From their very origins, contemporary African artistic creations have been works of resistance. Born from the struggle against colonialism, these works continued in this trajectory when independence failed to deliver on the aspiration of the masses. Today's artists follow in the footsteps of their predecessors; resisting all forms of social injustice, economic inequality and political oppression that bedevil the post-independence arena. Using resistance aesthetics as critical tool of analysis, this paper seeks to examine the concept of resistance in the music of Donny Elwood. It aims at showin

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31

DeFrantz, Thomas F. "Bone-Breaking, Black Social Dance, and Queer Corporeal Orature." Black Scholar 46, no. 1 (2016): 66–74. http://dx.doi.org/10.1080/00064246.2015.1119624.

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32

Akinduti, Taiwo Opeyemi, and Janet Olaide Sheba. "Motherhood and Infertility as Performance Paradigms of Ọ̀pá Festival." Yoruba Studies Review 10, no. 1 (2025): 53–72. https://doi.org/10.32473/ysr.10.1.139151.

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Ọ̀pá festival is famous among Ìpinṣà, its surrounding communities and Àkúrẹ́, in the southwest of Nigeria. The festival holds annually in Ìpinṣà to celebrate Èyé Mọ̀é, and by extension, female indigenes of Ìpinṣà, irrespective of age, political affiliations, and social status. Though scholarly works abound on women, yet, there seem to be paucity of research on how the female Deity of Ọ̀pá, proffers amazing solution to infertility and childlessness. The primary aim of Ọ̀pá festival in Ìpinṣà is to resolve infertility among married women. This article identifies the orat

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33

Akoma. "Proverbs in African Orature, by Ambrose Adikamkwu Monye." Research in African Literatures 42, no. 1 (2011): 187. http://dx.doi.org/10.2979/reseafrilite.2011.42.1.187.

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34

Servan-Schreiber, Catherine. "Folklore/littérature/orature : frontières et cloisonnements dans l’histoire littéraire indienne." Revue de littérature comparée 356, no. 4 (2015): 447. http://dx.doi.org/10.3917/rlc.356.0447.

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35

Gĩthae Mũgo, Mĩcere. "Burying the Kasuku Syndrome: Constructing Inventive Sites of Knowledge." Strathmore Law Journal 5, no. 1 (2021): 279–99. http://dx.doi.org/10.52907/slj.v5i1.152.

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Having come here to advocate the immediate burial of ‘kasuku culture,’ alias, ‘parrot culture,’ I had better initiate the process of grave-digging myself. As an African academician, poet, playwright, artist, cultural worker and activist, I have sought to do this in different ways. One such way has been using my intellectual work to affirm progressive indigenous African paradigms, including orature, which Pio Zirimu and Austin Bukenya once concisely defined as ‘verbal art.’1 I will, therefore, use an African Orature style of delivery to hold this conversation with you. I cannot think of a more

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36

Dr, Michael Terver Akpar, and Paul Iorkongoso Luper. "The African Development Dilemma and the Tarker Golozo's Perspective in Orature." ISA Journal of Business, Economics and Management (ISAJBEM) 2, no. 3 (2025): 225–32. https://doi.org/10.5281/zenodo.15552879.

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Over the past six decades, Africa has faced a myriad of development challenges, arising mainly from clashes between tradition and modernity, vicious politics, ineffective governance, power imbalances, extreme poverty, varying degrees of infrastructure deficiency, economic disparities, internal conflicts, urban-rural imbalances, and industrialization and environmental sustainability concerns. This multitude of issues form the African development dilemma that persists alongside intellectual egoism thriving with self-indulgent blame game amongst dominant scholarly views. Despite the significant p

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37

Cobham-Sander, Rhonda. "Echoes in the Bone: Hearing Africa in Maureen Warner-Lewis’s Caribbean." Small Axe: A Caribbean Journal of Criticism 27, no. 2 (2023): 86–97. http://dx.doi.org/10.1215/07990537-10795251.

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Framed by the author’s three encounters with Maureen Warner-Lewis’s voice, this essay evaluates three aspects of her work: her commitment to pedagogical approaches that privilege orature; her commitment to research methodologies that privilege the language and history of Caribbean community members who have preserved explicit connections to African cultural institutions; and the decolonial theoretical orientation of her scholarship, which raises questions about the role of “indigenous” epistemologies in Caribbean literary theory.

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38

James, Cynthia. "From Orature to Literature in Jamaican and Trinidadian Children's Folk Traditions." Children's Literature Association Quarterly 30, no. 2 (2005): 164–78. http://dx.doi.org/10.1353/chq.2005.0025.

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39

ElFalih, Tarik, and Zakariae El Idrissi. "Gender Representation in Moroccan Orature: Moroccan Folktales as a Case Study." International Journal of Language and Literary Studies 6, no. 3 (2024): 289–98. http://dx.doi.org/10.36892/ijlls.v6i3.1836.

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Scholars worldwide are fascinated by oral traditions, and Moroccan folktales are particularly striking within a mosaic of spoken narratives and cultural past. Storytellers bring these stories, rich in traditional wisdom, to life in both public and private spaces. To showcase their storytelling abilities, women are assuming roles that have historically been held by men, such as "storyteller" and "orator." Researchers are now examining the forms in which women are portrayed in these tales, as well as how female narrators engage with and contest these representations within the oral tradition. Th

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40

Wittenberg, Hermann. "The boer and the jackal: satire and resistance in Khoi orature." Critical Arts 28, no. 4 (2014): 593–609. http://dx.doi.org/10.1080/02560046.2014.929218.

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41

Wittenberg, Hermann. "The Boer and the Jackal: Satire and resistance in Khoi orature." Multilingual Margins: A journal of multilingualism from the periphery 1, no. 1 (2018): 75. http://dx.doi.org/10.14426/mm.v1i1.24.

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Bushman narratives have been the subject of a large volume of scholarly and popularstudies, particularly publications that have engaged with the Bleek and Lloyd archive.Khoi story-telling has attracted much less attention. This paper looks a number of lesserknown Khoi narratives, collected by Thomas Baines and Leonhard Schultze. Despitecommonalities in the respective oral traditions, Khoi folklore appears more open todiscursive modes of satire, mockery and ridicule, features which are not readily foundin Bushman story telling. A number of Khoi narratives that feature the trickster figureof the

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42

Alehegne, Mersha. "Orature on Literature: the Case of Abba Gärima and His Gospel." Aethiopica 19 (October 2, 2017): 52–60. http://dx.doi.org/10.15460/aethiopica.19.1.1127.

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This paper presents oral narratives told about Abuna Gärima, one of the so called Nine Saints, and his evangelical mission in northern Ethiopia. The narratives presented in the paper discuss different issues: where and how did he write his Gospel, which is believed to be the first Ethiopic Gospel, and the oldest known manuscript in the literary culture of the country; the different miracles the Saint performed during his years of service at the monastery; and how he is commemorated in the people’s popular songs and qǝne, a unique style of Gǝʿǝz poetry. These narratives were collected through

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43

Mnenuka, Angelus. "Online Performance of Swahili Orature: The Need for a New Category?" Eastern African Literary and Cultural Studies 5, no. 3-4 (2019): 274–97. http://dx.doi.org/10.1080/23277408.2019.1685752.

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44

Johnson, Andi. "Black Women of The Cakewalk: Reclaiming The Performance Though Corporeal Orature." İstanbul Üniversitesi Kadın Araştırmaları Dergisi / Istanbul University Journal of Women’s Studies, no. 26 (April 30, 2023): 45–63. http://dx.doi.org/10.26650/iukad.2023.qe00003.

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45

Denogent, Jehanne. "La Mission romande et l’invention d’une littératie tsonga." Gradhiva 38 (2024): 133–50. http://dx.doi.org/10.4000/12q4a.

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L’ensemble de documents d’archives présentés dans cet article, tous liés aux activités de la Mission romande en Afrique, vise à mettre en lumière le rôle des missionnaires suisses dans la transcription de la langue et de l’« orature » (Ngugi 1998) tsongas au tournant du xxe siècle. Ils décrivent un double mouvement, du français au tsonga, et inversement, lié à la littératie et à la culture de l’imprimé. À partir de cet ensemble, il s’agira de réfléchir aux conditions matérielles de circulations textuelles.

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46

KAHYANA, DANSON SYLVESTER. "The Potential Role of Orature in Fighting the Spread of HIV/AIDS." Matatu 42, no. 1 (2013): 159–71. http://dx.doi.org/10.1163/9789401210584_010.

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47

Ignatov, Anatoli. "African Orature as Ecophilosophy: Tuning in to the Voices of the Land." GeoHumanities 2, no. 1 (2016): 76–91. http://dx.doi.org/10.1080/2373566x.2016.1166977.

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48

Uwajeh, P. N. "Orature in literature: Myths as structural elements in Achebe'sAnthills of the Savannah." Neohelicon 19, no. 1 (1992): 297–306. http://dx.doi.org/10.1007/bf02028624.

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49

Jegede, O. B. "Women, Power and Subversion in Orature: A Palace Performance in Yorubaland, Nigeria." Journal of Gender Studies 15, no. 3 (2006): 253–66. http://dx.doi.org/10.1080/09589230600862000.

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50

Porter, Laurence M. "Lost in Translation: From Orature to Literature in the West African Folktale." Symposium: A Quarterly Journal in Modern Literatures 49, no. 3 (1995): 229–39. http://dx.doi.org/10.1080/00397709.1995.10113498.

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