Academic literature on the topic 'Yoruba (African people) – Folklore'
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Journal articles on the topic "Yoruba (African people) – Folklore"
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Odugbemi, Ibrahim A. "Toyin Falola and Akintunde Akinyemi (Eds). Encyclopedia of the Yoruba. Bloomington and Indianapolis: Indiana University Press, 2016. 371pp." Yoruba Studies Review 3, no. 1 (December 21, 2021): 1–3. http://dx.doi.org/10.32473/ysr.v3i1.129933.
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Encyclopedia of the Yoruba is a single-volume encyclopedia that is comprised of 285 entries of short essays written by 188 authors who are predominantly scholars and academic researchers from Africa, Europe and North America. The different word-ranges of the essays vary from 1000 words (for 78 entries) to 750 words (for 88 entries) and 500 words (for 119 entries). Across these entries, the encyclopedia gives a complex, yet detailed, presentation of the Yorùbá, a dominant ethnic group in West Africa and the most prominent African cultural population, identity and presence in the African diaspora including North America, the Caribbean and South America. It presents the Yorùbá with respect to their involvements in, and interactions with, different sociocultural experiences, practices and expressions by “emphasizing the peculiarities, features, and commonalities of the people” (xi). Following an alphabetical ordering, each entry in the encyclopedia is complete on its own as it examines and discusses a subject, subject matter, concept or topic that shares an affiliation with the Yorùbá world in time (the traditional past in all its distant and intricate temporal dimensions and the modern present in all its complex interrelations) and/or space (Yoruba homes across West Africa and the African diaspora. Such concentrations of the entry include persons/personalities, demographics, worldviews and cosmological values and elements, and several material and non-material aspects of the Yorùbá culture and folklore, and their corresponding affiliates. It is important to add that the completeness of the entries is considerably informed by the suitability of the word-ranges used. It is commendable that 358 Ibrahim A. Odugbemi the editors are able to determine the word-range that fits the discourse of every entry and the authors are also able to conform. By writing across the various word-limits, the authors have been able to give adequate information about their subjects of discussion. Each word-limit is moderate enough to convey the basic information on the subject or topic of every entry.
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Olugbenga, Dasaolu Babajide. "On Efficient Causation for Homosexual Behaviours among Traditional Africans: An Exploration of the Traditional Yoruba Model." Bangladesh Journal of Bioethics 9, no. 2 (April 25, 2019): 26–37. http://dx.doi.org/10.3329/bioethics.v9i2.41187.
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In the face of the recent backlashes against homosexual persons in Africa, on the ground that the phenomenon is un-African and/or threat to procreation and marital values, it is pertinent to review the discourse in the light of how ancient Africans perceived the reality. This is imperative given the lack of consensus on the part of scientists to disinter a conclusive finding on what causes homosexual behaviours among humans. In this research, I employ traditional Yorùbá philosophy to provide a plausible justification for homosexuality among the people. In the face of this justification via Yorùbá folklore, I find that there is no documented evidence among the ancient Yorùbá that is suggestive of discrimination and stigmatization of homosexuals and inter-sex persons. As homosexual persons were respected but not criminalized, this study recommends the regurgitation of this outlook in the contemporaneous dealings with homosexual persons, beginning with the repealing of the Same-Sex Marriage Prohibition Act of 2014 in Nigeria, which is inconsistent with African values and outlooks on the subject.
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Finley, Mackenzie. "Constructing Identities: Amos Tutuola and the Ibadan Literary Elite in the wake of Nigerian Independence." Yoruba Studies Review 2, no. 2 (December 21, 2021): 1–28. http://dx.doi.org/10.32473/ysr.v2i2.129908.
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With Nigerian novelist Amos Tutuola as primary subject, this paper at[1]tempts to understand the construction of sociocultural identities in Nigeria in the wake of independence. Despite the international success of his literary publications, Tutuola was denied access to the most intimate discourses on the development of African literature by his Nigerian elite contemporaries, who emerged from University College, Ibadan, in the 1950s and early 1960s. Having completed only a few years of colonial schooling, Tutuola was differentiated from his elite literary contemporaries in terms of education. Yet if education represented a rather concrete, institutionalized divide between the elite and the everyday Nigerian, this paper will suggest that the resulting epistemological difference served as a more fluid, ideological divide. Both Western epistemology, rooted in Western academic spaces, and African epistemology, preserved from African traditions like proverbs and storytelling, informed the elite and Tutuola’s worldviews. The varying degrees to which one epistemology was privileged over the other reinforced the boundary between Tutuola and the elite. Furthermore, educational experiences and sociocultural identities informed the ways in which independent Nigeria was envisioned by both Tutuola and the elite writers. While the elites’ discourse on independence reflected their proximity to Nigeria’s political elite, Tutuola positioned himself as a distinctly Yoruba writer in the new Nigeria. He envisioned a state in which traditional knowledge remained central to the African identity. Ultimately, his life and work attest to the endurance of indigenous epistemology through years of European colonialism and into independence. 148 Mackenzie Finley During a lecture series at the University of Palermo, Italy, Nigerian novelist Amos Tutuola presented himself, his work, and his Yoruba heritage to an audience of Italian students and professors of English and Anglophone literatures. During his first lecture, the Yoruba elder asked his audience, “Why are we people afraid to go to the burial ground at night?” An audience member ventured a guess: “Perhaps we are afraid to know what we cannot know.” Tutuola replied, “But, you remember, we Africans believe that death is not the end of life. We know that when one dies, that is not the end of his life [. . .] So why are all people afraid to go to the burial ground at night? They’re afraid to meet the ghosts from the dead” (emphasis in original).1 Amos Tutuola (1920–1997) was recognized globally for his perpetuation of Yoruba folklore tradition via novels and short stories written in unconventional English. His works, especially The Palm-Wine Drinkard (1952) and My Life in the Bush of Ghosts (1954), were translated into numerous European languages, including Italian. Given the chance to speak directly with an Italian audience at Palermo, Tutuola elaborated on the elements of Yoruba culture that saturated his fiction. His lectures reflected the same sense of purpose that drove his writing. Tutuola explained, “As much as I could [in my novels], I tried my best to bring out for the people to see the secrets of my tribe—I mean, the Yoruba people—and of Nigerian people, and African people as a whole. I’m trying my best to bring out our traditional things for the people to know a little about us, about our beliefs, our character, and so on.”2 Tutuola’s didactics during the lecture at Palermo reflect his distinct intellectual and cultural commitment to a Yoruba cosmology, one that was not so much learned in his short years of schooling in the colonial education system as it was absorbed from his life of engagement with Yoruba oral tradition. With Tutuola as primary subject, this paper attempts to understand the construction of sociocultural identities in Nigeria in the wake of independence. The educated elite writers, such as Wole Soyinka and Chinua Achebe, who emerged from University College, Ibadan, during the same time period, will serve as a point of comparison. On October 1, 1960, when Nigeria gained independence from Britain, Tutuola occupied an unusual place relative to the university-educated elite, the semi-literate “average man,” the international 1 Alassandra di Maio, Tutuola at the University: The Italian Voice of a Yoruba Ancestor, with an Interview with the Author and an Afterword by Claudio Gorlier (Rome: Bulzoni, 2000), 38. The lecture’s transcriber utilized graphic devices (italicized and bolded words, brackets denoting pauses and movements) to preserve the dynamic oral experience of the lecture. However, so that the dialogue reads more easily in the context of this paper, I have removed the graphic devices but maintained what the transcriber presented as Tutuola’s emphasized words, simply italicizing what was originally in bold. 2 Di Maio, Tutuola at the University, 148. Constructing Identities 149 stage of literary criticism, and the emerging field of African literature. This position helped shape his sense of identity. Despite the success of his literary publications, Tutuola was not allowed to participate in the most intimate dis[1]courses on the development of African literature by his elite contemporaries. In addition to his lack of access to higher education, Tutuola was differentiated from his elite literary contemporaries on epistemological grounds. If education represented a rather concrete, institutionalized divide between the elite and the everyday Nigerian, an epistemological difference served as a more fluid, ideological divide. Both Western epistemology, rooted in Western academic spaces, and African epistemology, preserved from African traditions like proverbs and storytelling, informed the elite and Tutuola’s worldviews. The varying degrees to which one epistemology was privileged over the other reinforced the boundary between the elite and Tutuola. This paper draws largely on correspondence, conference reports, and the personal papers of Tutuola and his elite contemporaries housed at the Harry Ransom Center at the University of Texas at Austin, as well as on interviews transcribed by the Transcription Centre in London, the periodical Africa Report (1960–1970), and Robert M. Wren and Claudio Gorlier, concentrating on primary sources produced during the years immediately prior to and shortly after Nigerian independence in 1960. Tutuola’s ideas generally did not fit into the sociocultural objectives of his elite counterparts. Though they would come in contact with one another via the world of English-language literature, Tutuola usually remained absent from or relegated to the margins of elite discussions on African creative writing. Accordingly, the historical record has less to say about his intellectual ruminations than about those of his elite contemporaries. Nonetheless, his hand-written drafts, interviews, and correspondences with European agents offer a glimpse at the epistemology and sense of identity of an “average” Nigerian in the aftermath of colonialism and independence.
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Khan, Lubna Akhlaq, Muhammad Safeer Awan, and Aadila Hussain. "Oral cultures and sexism: A comparative analysis of African and Punjabi folklore." Pakistan Journal of Women's Studies: Alam-e-Niswan 26, no. 2 (December 19, 2019): 105–26. http://dx.doi.org/10.46521/pjws.026.02.0010.
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The present study embarked with a supposition that there are similarities (traditional, under-developed, agri-based) between the Punjabi and African cultures, so the gender ideology might have similar patterns, which can be verified through the analysis of oral genres of the respective cultures. From Africa, Nigerian (Yoruba) proverbs are selected to be studied in comparison with Punjabi proverbs, while taking insights from Feminist CDA (Lazar 2005). The study has examined how Punjabi and Yoruba proverbs mirror, produce and conserve gendered ideology and patriarchism. Punjabi proverbs are selected through purposive sampling from ‘Our Proverbs’ (Shahbaz 2005) and Yoruba examples (with English translations and interpretations) are elicited from a dictionary of Yoruba proverbs (Owomoyela 2005), as well as articles written about gender by native Yoruba researchers. The investigation has uncovered through thematic content analysis that the portrayal of women in both communities is primarily biased, face-threatening and nullifying. Both languages have presented womenfolk mainly as unreliable, insensible, loquacious, insincere, ungrateful, opportunist, materialistic and troublemaking. Men have been depicted for the most part as aggressive, rational, prevailing, and anxious to take risks. This analysis infers that in asymmetrically organised Punjabi and African (Yoruba) communities, proverbs are deliberately sustaining inequality.
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Alabi, Adesanya M. "The Decline of Indigenous Language in African Literature: A Model of the Yoruba Language." African Research & Documentation 139 (2021): 114–24. http://dx.doi.org/10.1017/s0305862x00023980.
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“African literature has presented a lot of problems especially what is to be considered African literature, in which language it should be written, what it should be about, and who should be considered an African writer“(Ndede, 2016:2). This article discusses the linguistic hegemony of the colonial languages with particular reference to Yoruba. “The Yoruba country lies roughly between latitudes 6° and 9°N and longitudes 2° 30’ and 6° 30’ East. The area spreads across the republics of Benin and Togo. The Yoruba are also found in such places as Sierra Leone, Gambia and across the Atlantic in the Caribbean and South America especially in Brazil” (Atanda, 1996; cited in Salawu, 2004).According to Arifalo and Ogen, Yoruba people are forty million worldwide and they further assert that the Yoruba ethnic group is one of the biggest in West Africa (Arifalo and Ogen, 2003; cited in Salawu, 2004).
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Adeoye, EA, AO Okeowo, AF Yusuf, and O. Rotimi. "Proposing an Indigenous Nigerian Folktale Therapy as a Counselling Model for Character Training and Behaviour Change among School Children." Journal of Science and Sustainable Development 5, no. 1 (June 12, 2013): 29–35. http://dx.doi.org/10.4314/jssd.v5i1.3.
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Using the Yoruba race of Nigeria as fulcrum for the study, this paper examines the universality and didactic significance of archetypes in African folklore. The authors contend that Africa folklore, by virtue of its highly moralizing and didactic elements made possible by an embedded commonality of instructive archetypes, offers a lifeline that counsellors andpsychologists can use in combating the moral decay in the Nigerian society. Based on this premise the paper goes on to present a counselling model for character training and behaviour change through the use of an indigenous Nigerian Folktale Therapy (I.N.F.T). The model is a response to the needed paradigm shift in the counterproductive traditional punitive method of combating undesirable behaviours that seem to have become rampant currently in Nigerian society. This model could indeed serve as springboard for adaptation in other African settings which are very rich infolklores.Keywords · Folktale · Therapy · Counselling psychology
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Hendrie, Hugh C., Olusegun Baiyewu, Denise Eldemire, and Carol Prince. "Caribbean, Native American, and Yoruba." International Psychogeriatrics 8, S3 (May 1997): 483–86. http://dx.doi.org/10.1017/s1041610297003906.
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Studying behavioral disturbances of dementia across cultures allows us to identify commonalities and differences that may be useful in determining the best approach to managing these problems. However, what we tend to find in cross-cultural studies is that the best approach may not be the same approach, given the different prevalence of and levels of tolerance for various behavioral problems. These differences are apparent in the authors' studies of four populations—Jamaicans in Kingston; Cree in Northern Manitoba, Canada; Yoruba in Ibadan, Nigeria; and African Americans in the United States. The Jamaicans in this study live in a poor suburb of Kingston, the Cree live in two fairly small, isolated communities in Northern Manitoba, and the Yoruba live in Ibadan, a city of more than 1 million people. The Yoruba community the authors are studying, although concentrated in the city center, functions much like a village. The African-American population resides in Indianapolis, Indiana, a moderately sized city of approximately 1 million people.
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LOVEJOY, PAUL E. "The Frontier States of Western Yorubaland, 1600–1889. By BIODUN ADEDIRAN. Ibadan: Institut Français de Recherche en Afrique, 1994. Pp. x + 248. No price given (ISBN 978-2015-25-3)." Journal of African History 38, no. 1 (March 1997): 123–77. http://dx.doi.org/10.1017/s002185379648690x.
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The identification of the various sub-groups of the Yoruba offers a challenge to historians, particularly since large numbers of Yoruba-speaking people were deported into the African diaspora. In this contribution to Yoruba historiography, Adediran analyses the history of the western Yoruba sub-groups, especially those resident in République du Benin and also in Togo. This study expands upon Adediran's Ph.D. thesis (Awolowo University, 1980) and is based on oral traditions and archival materials, as well as an excellent grasp of the published literature.
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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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Awojobi, Peter Olanrewaju. "Rereading Psalm 121 in an African (Yoruba) context." Integrity Journal of Arts and Humanities 2, no. 1 (June 28, 2021): 8–15. http://dx.doi.org/10.31248/ijah2021.014.
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This article is an attempt to reread Psalm 121 in an African context with reference to the culture of the Yoruba people of Nigeria. The study considers certain Eurocentric interpretation of the Book of Psalms which Africans maintained do not meet their social, physical and spiritual aspirations. An African interpretation of the Bible is an interpretation which adopts the African world view. In this study, Psalm 121 is interpreted in the light of help and protection which are the greatest needs of the African people. The study adopts the African Biblical Hermeneutics. The central focus of this approach is to provide a useful lens to reread biblical text in African context. It was discovered that as early as the third century Christian era, worshippers in the temple chanted, and sung on a regular basis from Psalms. The Psalms were popular in the fourth century with the rise of monasticism as monks chanted the psalms as daily prayer not only for personal guidance but also for spiritual warfare against demons. The ancient Israelites who were the original authors of the Psalter wrote from their experiences. Many biblical scholars and members of African indigenous churches in Nigeria, see the Psalter as divine and potent words. Psalm 121 can be used to invoke help and protection on those who desire them in the same way as words of incantation (ogede) are used among the Yoruba ethnic group of Nigeria. It is hoped that the Psalms and the entire Bible will be properly contextualized to address the challenges that Africans are currently facing.
Dissertations / Theses on the topic "Yoruba (African people) – Folklore"
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Babalola, S. A. "Theological analysis of culturalized worship ceremonies among Yoruba Christians in selected U.S. cities indigenization versus syncretization /." Theological Research Exchange Network (TREN), 1995. http://www.tren.com.
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Famule, Olawole Francis. "Art and spirituality : the Ijumu northeastern-Yoruba egúngún /." Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1372%5F1%5Fm.pdf&type=application/pdf.
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Salifu, Abdulai. "Names that prick : royal praise names in Dagbon, northern Ghana /." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3344619.
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Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2008.Title from PDF t.p. (viewed on Oct. 6, 2009). Source: Dissertation Abstracts International, Volume: 70-02, Section: A, page: 0649. Advisers: John H. McDowell; Hasan M. El-Shamy.
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Redd, David Allen. "Yoruba migrants : a study of rural-urban linkages and community development." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ50561.pdf.
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Thompson, Sheneese. "Oshun, Lemonade and Other Yellow Things: Philosophical and Empirical Inquiry into Incorporation of Afro-Atlantic Religious Iconography." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555573211820986.
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Harper, James B. "Bone artifacts at Mont Repose possible motivationos for production and trade /." Click here to access thesis, 2009. http://www.georgiasouthern.edu/etd/archive/fall2008/james_b_harper/harper_james_b_200901_mass.pdf.
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Thesis (M.A.)--Georgia Southern University, 2009."A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Arts." Directed by Sue Mullins Moore. ETD. Includes bibliographical references (p. 85-88)
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Asonibare, Stephen. "Using extended family dynamics to grow the Nigerian church." Online full text .pdf document, available to Fuller patrons only, 2000. http://www.tren.com.
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Mpola, Mavis Noluthando. "An analysis of oral literary music texts in isiXhosa." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1012909.
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This study examines the relationship between composed songs in isiXhosa and the field of oral literature. In traditional Xhosa cultural settings, poetry and music are forms of communal activity enjoyed by that society. Music and poetry perform a special social role in African society in general, providing a critique of socio-economic and political issues. The research analyses the relationship that exists between traditional poetry, izibongo, and composed songs. It demonstrates that in the same way that izibongo can be analysed in order to appreciate the aesthetic value of an oral literary form, the same can be said of composed isiXhosa music. The art of transmitting oral literature is performance. The traditional izibongo are recited before audiences in the same way. Songs (iingoma) stories (amabali) and traditional poetry (izibongo) all comprise oral literature that is transmitted by word of mouth. Opland (1992: 17) says about this type of literature: “Living as it does in the performance is usually appreciated by crowds of people as sounds uttered by the performer who is present before his/her audience.” Opland (ibid 125) again gives an account of who is both reciter of poems and singer of songs. He gives Mthamo’s testimony thus: “He is a singer… with a reputation of being a poet as well.” The musical texts that will be analysed in this thesis will range from those produced as early as 1917, when Benjamin Tyamzashe wrote his first song, Isithandwa sam (My beloved), up to those produced in 1990 when Makhaya Mjana was commissioned by Lovedale on its 150th anniversary to write Qingqa Lovedale (Stand up Lovedale). The song texts total fifty, by twenty-one composers. The texts will be analysed according to different themes, ranging from themes that are metaphoric, themes about events, themes that depict the culture of the amaXhosa, themes with a message of protest, themes demonstrating the relationship between religion and nature, themes that call for unity among the amaXhosa, and themes that depict the personal circumstances of composers and lullabies. The number of texts from each category will vary depending on the composers’ socio-cultural background when they composed the songs. Comparison will be made with some izibongo to show that composers and writers of izibongo are similar artists and, in the words of Mtuze in Izibongo Zomthonyama (1993) “bathwase ngethongo elinye” (They are spiritually gifted in the same way).
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Olojede, Funlola O. "The exodus and identity formation in view of the origin and migration narratives of the Yoruba." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/2588.
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Thesis (MTh (Old and New Testament))--Stellenbosch University, 2008.This study examines the exodus event and its impact on identity formation in the light of the origin and migration narratives of the Yoruba people. On the one hand, it is observed that migration is not only an ancient but a universal phenomenon. Its rootedness in Africa and its profound influence on identity formation are therefore brought to the fore by comparing the origin and migration narratives of the Yoruba with those of the Tiv and the amaZulu. The findings show that certain elements of the origin and migration narratives such as a common ancestor, a common ancestral home, a common belief in Supreme Deity etc., provide a basis for identity formation and recognition among these Africans, in particular, the Yoruba. On the other hand, the study focuses on the Sea event in Exodus 14-15:18 which is composed of both a narrative and a poetic rendition of the sea-crossing by the children of Israel. In the Sea event, Israel acknowledged in story and song that it was Yahweh who as a warrior, delivered its people from the hand of Pharaoh and took them safely to the other side of the Sea. This research shows that a literary consideration of the text and especially of the interplay between prose and poetry points to Yahweh as the main character in the Sea event. Consequently, Israel’s identity is defined in Yahweh whose own identity as warrior and deliverer brought Israel victory over the Egyptians and paved the way for a new nation in a new land. In this sense, Israel’s identity is assumed to be a theological one. It is argued that the Yoruba origin and migration narratives help to bring to light the memories of exodus and Israel’s recollection of Yahweh as the root of its identity. The narratives help to appreciate more clearly Yahweh’s role in the midst of his people and the his centrality to Israel’s self-understanding even as they show that these can provide valuable resources in today’s world where migration and the struggle for identity are features that are not likely to fade away. Besides, the juxtaposition of cosmogonic myths and migration theories in attesting to the elements of Yoruba identity formation, have a parallel in the blending of both cosmic and migration elements in Exodus 14-15:18. This blending also foregrounds the role of Yahweh in the Sea event. In addition, the study suggests that the interaction between prose and poetry in the Sea event is an instance of a separate genre which further research may confirm in Yoruba, especially in folk-tales and in oríkì-oríle (praise names/epithet).
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Curtis, Marvin Vernell. ""The People Could Fly": An original musical composition to enhance the learning environment of African-American school students and provide an additional resource for elementary multicultural education." Scholarly Commons, 1990. https://scholarlycommons.pacific.edu/uop_etds/2813.
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The public school learning environment is based on the learning styles of white middle class children. When African-American students enter this environment, they become frustrated because aspects of their culture, which affect how they learn, are excluded. This frustration may be responsible for the high drop-out rates among black students. The research suggests that incorporating African-American cultural attitudes, values, and behaviors in curriculum will help these students achieve. Because folklore and music are important parts of the African-American culture, an arts-based education program using these art forms would aid in teaching African-American students. In addition, involvement of all students in African-American folklore and music furthers the goals of multiethnic education. For this study, a musical was developed for elementary education. It incorporated an African-American folktale, "The People Could Fly", and elements of African-American music. A curriculum guide was developed containing information for the teacher on African-American culture and how it affects learning. A narrative was included for the teacher to read to the students about African-American life and culture, in particular, folklore and music. The guide contains activities for the students and additional resources for the teacher in the areas of African-American music, folklore and multicultural education. The guide was reviewed by twenty-two people from educational fields, revised and subsequently reviewed by four of the same reviewers and two new ones. The musical was performed for elementary school students, videotaped, and critiqued by the teacher involved. All comments were positive about the scope and the need for this kind of project. The researcher recommends that further study be done regarding learning styles of ethnic groups, that more musicals following the premise of this dissertation be created, and that evaluation of their effectiveness be initiated with specific African-American and general populations.
Books on the topic "Yoruba (African people) – Folklore"
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Owomoyela, Oyekan. Yoruba trickster tales. Lincoln, Neb: University of Nebraska Press, 1997.
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Yoruba ritual: Performers, play, agency. Bloomington: Indiana University Press, 1992.
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ill, Kim Holly C., ed. The Iroko-man: A Yoruba folktale. New York: Orchard Books, 1994.
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ill, Smith Theresa, ed. Zzzng! zzzng! zzzng!: A Yoruba tale. New York: Orchard Books, 1998.
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Nevin, Thomas A. The king's magic drum: A Yoruba folk tale. Durbanville: Garamond Publishers, 1996.
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ill, Grifalconi Ann, ed. In the Rainfield: Who is the greatest? New York: Blue Sky Press, 2000.
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Ogunpolu, 'Tunde. Classification of Yoruba prose narratives: A new perspective. [Ogun State, Nigeria]: Ogun State University, Faculty of Arts, 1986.
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ill, Wilson Kathleen Atkins, ed. The origin of life on earth: An African creation myth. Mt. Airy, MD: Sights Productions, 1991.
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Salami, Benson Olayide. Opitan Agba: (the great story teller). Owo, Ondo State, Nigeria: Benlad Olayanju Pub., 1992.
Find full textBook chapters on the topic "Yoruba (African people) – Folklore"
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Agwuele, Augustine, and Tafesse Matewos Karo. "Fichee-Cambalaalla of the Sidaama People." In The Palgrave Handbook of African Oral Traditions and Folklore, 509–27. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-55517-7_26.
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"Okun Radio Online as an impetus for maintaining the dialects and cultural heritage of Okun-Yoruba people." In African Language Digital Media and Communication, edited by Josephine Olufunmilayo Alexander, 46–78. New York: Routledge, 2018. | Series: Routledge contemporary Africa series: Routledge, 2018. http://dx.doi.org/10.4324/9781351120425-4.
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Adejumo-Ayibiowu, Oluwakemi Damola. "Democracy, Decentralization, and Rural Development in Africa." In African Perspectives on Reshaping Rural Development, 19–46. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-2306-3.ch002.
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Following the disappointing outcomes of the implementation of Western liberal democracy and decentralization, some observers have argued that the reason for these failures was because African countries have not yet developed the necessary culture for a successful democracy and democratic institutions. But are democracy and decentralization strange to Africa? The purpose of this chapter is to show that democracy and decentralization are not alien to Africa. Using the Yoruba culture of West Africa as a case study, and Afrocentricity as the theoretical framework, the chapter brings to the fore the principles of African cultural democracy that guarantee responsiveness and representativeness as well as ensure welfare improvement among these indigenous people. Suggestions are made on how these cultural democratic principles can be incorporated into formal governance to achieve more responsive governments in Africa.
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Cohn, Samuel. "Ethnic Violence." In All Societies Die, 124–27. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501755903.003.0036.
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This chapter discusses the economic basis of ethnic hatred and violence. Different nations and different historical periods have different economic issues at stake, and the form of ethnic conflicts is very local specific. Some of the most common forms include hostility to a middle-class minority in a peripheral agrarian nation, which sociologists call a middleman minority; cheap labor minorities in industrial societies, which refers to the African American situation in the present-day United States; and anti-immigration hostilities in industrial societies. Another form is conflict over the control of a corrupt state. Hausa–Yoruba–Ibo conflicts in Nigeria were almost certainly centered on control of the state and control of the petroleum revenues pertaining to the Nigerian state. Finally, there is justification for land seizure. One of the most long-term and enduring conflicts has been between peoples of European extraction and indigenous people in the rest of the world. Nearly all of those conflicts were about land use.
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Lindsay, Lisa A. "Afterlives." In Atlantic Bonds: A Nineteenth-Century Odyssey from America to Africa. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469631127.003.0008.
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More than a century after Church Vaughan died in 1893, his descendants in Nigeria and those of his siblings in America kept alive a particular family story. Vaughans remembered Church’s father Scipio as a Yoruba man brought to Charleston as a slave. Decades later in Yorubaland, according to their accounts, Church Vaughan met people bearing his father’s “country marks,” who embraced him as a long-lost relative. Written evidence, however, indicates that Scipio Vaughan was born in Virginia. Where, then, did this story come from? What did it mean to Vaughan descendants as they remembered and retold it? And what meaning can readers take from the “real” story today? This chapter considers these questions. It traces the “country marks” story to encounters between Vaughan’s daughter and American cousins she visited in the 1920s, an era of fascination with Africa as well as violent attacks on African Americans. It argues that although the country marks story gives Vaughan African roots, it was his un-rootedness—his mobility—that brought about the prosperity he was able to bequeath to his descendants. Church Vaughan’s life shows how a vision that transcends national borders and fixed identities can be a resource in a harsh, unfair world.
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Simela, Oscar Dick. "The Imperatives and Challenges of Passing on the Tenets of Ubuntu to the Younger Generation." In Advances in Religious and Cultural Studies, 117–29. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7947-3.ch010.
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This chapter provides some of the challenges and difficulties that parents face in trying to pass salient features of the African concept of Ubuntu to their children. It starts by presenting a plausible definition of Ubuntu, followed by some learning theories that explain ways by which some people learn new concepts. Additionally, some folklore stories are included in the chapter to illustrate favorite methods used by grandparents for teaching some valuable life lessons to their grandchildren. An attempt is made towards the end of the chapter to summarize some of the things that can be done to facilitate the means by which displaced and fragmented families can still pass on Ubuntu to their offspring.
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Gussow, Adam. "Zora Neale Hurston in the Florida Jooks." In Whose Blues?, 151–79. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469660363.003.0008.
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Like W. C. Handy and Langston Hughes, Zora Neale Hurston was a translator: she sought textual analogies—words on a page--for the bittersweet lyricism, dynamism, and bold self-declarations found in blues music made by Black people in the rural South of the early Twentieth Century. She was also, like both men, a migrant to the urban North, a key figure of the Harlem Renaissance. A biographical as well as literary-critical exploration, this chapter focuses on Hurston’s two best-known works: Mules and Men (1935), a folklore study, and Their Eyes Were Watching God (1937), a cornerstone of the African American literary tradition. Both works vividly evoke the rough but vital blues culture of rural Florida, offering us Black spaces of self-making through the eyes of a Black female participant-observer. Both texts also force readers to confront the presence of scarifying, sometimes deadly violence within that juke-joint world. Hurston, this chapter argues, uses the novel to rewrite the folklore study, offering us a questing and indomitable young woman, Janie Crawford, who earns her way into the blues and lives out her destiny with the help of Tea Cake, a passionate, adventurous, and mercurial young bluesman.
Conference papers on the topic "Yoruba (African people) – Folklore"
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Arantes, Priscila, and Cynthia Nunes. "Into the decolonial encruzilhada: the Afrofuturistic collages of Luiz Gustavo Nostalgia as the artistic materialization of cruzo." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.88.
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The task of reviewing the silences present in hegemonic histories emerges at the beginning of the 20th century, seeking to provide a more amplified way of understanding the history of peoples and nations subjected to colonial subjugation. Rufino (2019) considers that this space of decolonization presents itself under the name of “encruzilhada” (crossroads) and understands the potentialities of the orixá Exu, of Yoruba spirituality: the orixá of communication, of the paths and the guardian of axé (vital energy). Exu disarray what exist to reconstruct— therefore, since the encruzilhada is Exu’s place, it is a space that allows the crossing of knowledge produced as deviations from colonial impositions on so-called official knowledge, a process which the author names “cruzo” (cross): the encruzilhada is a refusal to everything put as absolute; Exu is the movement of that encruzilhada. In addition to the positivization of the knowledge and ways of living of peoples who have suffered, over the centuries, from numerous processes of inferiority, it is necessary to insert this knowledge in the cultural elements of the present— and in the conceptions about the future. It is in this context that, regarding the experience of Afro-diasporic peoples, a global aesthetic movement that encompasses arts, literature, audiovisual and academic research emerges: Afrofuturism (YASZEK, 2013). Afrofuturism goal is to connect the dilemmas of the African diaspora to technological innovations, commonly unavailable to the descendants of the enslaved, and it aims to establish possible future scenarios— scenarios that contemplate the presence and, furthermore, the protagonism of black people (YASZEK, 2013). To this end, the movement breaks with the Western linear chronology and starts to consider time in a cyclic way, interweaving past, present and future in a single composition: in the same way that Exu, in the Yoruba cosmology, killed a bird yesterday with a stone that has only been thrown today, Afrofuturism weaves a web of historical and cultural retaking of African memory with questions that arise from the reflection of the problems faced by black people in the present, in order to think about a positive and possible future, once a dystopian scenario is already weighing on the shoulders of them. In the frontier of visual arts and design, Luiz Gustavo Nostalgia, a creator based on Rio de Janeiro, dismantles existing images and rearranges them through collages to create a new intention of meaning. His work evokes the cruzo on the principle of rearranging— central to collages— with the widespread rearrangement of our ways of living and understanding society— based on an Afrofuturistic conception of world— by celebrating African motifs, culture and spirituality, allied to the already acquainted aesthetics of “future” (such as the galaxy, bright lights and robotic elements). Through your creation, the artist is capable of presenting a future where black people do exist as protagonists and have their culture, past and roots celebrated.