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Journal articles on the topic 'Yoruba cosmoloy'

Author: Grafiati
Published: 4 June 2025
Last updated: 1 August 2025

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1

Idegu, Emmy Unuja. "Beyond the Yoruba Cosmology: A Contestation of the Africanness of Wole Soyinka's Submission in Myth, Literature and the African World." African Performance Review 1, no. 2&3 (2007): 99–113. https://doi.org/10.5281/zenodo.5082720.

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A great part of the early works of African writers and critics dealt with the issue of re-defining the African culture which, to a certain extent, was seen not to have been properly presented or represented by foreign writers. Another level of this scholarship was the response of African scholars to the attempt to universalize western culture by the West. Nevertheless, some Africans in their response to the West made postulations and generalized submissions, using a microcosm of a single African culture to stand for the whole, and thus repeating the same universalising tendency which Western s
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2

Onipede, Festus Moses, and Victoria Oluwakemi Olofin. "A Social Pragmatic Study of Selected Women Sex-Related Yorùbá Proverbs Translated In English." Journal of Digital Sociohumanities 2, no. 1 (2024): 1–15. https://doi.org/10.25077/jds.2.1.1-15.2025.

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Language performs important social functions. Language serves as a means of passing along a people’s culture from one generation to the next. The Yoruba people are well renowned for having a strong oral tradition and cultural inheritance, particularly with regard to the use of proverbs. Studies have also looked into how Yoruba proverbs contribute to the contradictions in gender roles in the region. Research has also examined the ways in which gender roles in the area are contradicted by Yoruba proverbs. The majority of research on Yoruba proverbs has been on their semantic structures, categori
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3

Mimiko, N. Oluwafemi. "The Omoluabi Essence." African and Asian Studies 16, no. 3 (2017): 243–58. http://dx.doi.org/10.1163/15692108-12341386.

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Abstract The Yoruba, predominantly of southwest Nigeria, comes with a long history of deep cultural consciousness and identity defined by the omoluabi essence – a sense of, commitment to, and pride in pristine and honorable conduct, individually and corporately. This paper interrogates the different, yet intricately linked perspectives articulated in Encyclopedia of the Yoruba on the cosmology, culture, and sociology of the Yoruba; the impact of modernity on its being; and the basis of the resilience of much of its wider cultural forms in different spatial and temporal contexts. It notes that
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4

Olupona, Jacob K. "The Study of Yoruba Religious Tradition in Historical Perspective." Numen 40, no. 3 (1993): 240–73. http://dx.doi.org/10.1163/156852793x00176.

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AbstractThis essay presents an overview of past and recent scholarship in Yoruba religion. The earliest studies of Yoruba religious traditions were carried out by missionaries, travellers and explorers who were concerned with writing about the so called "pagan" practices and "animist" beliefs of the African peoples. In the first quarter of the 20th century professional ethnologists committed to documenting the Yoruba religion and culture were, among other things, concerned with theories about cosmology, belief-systems, and organizations of Orisà cults. Indigenous authors, especially the Revere
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Obafemi, Dr Jegede. "Taboos and Medicine in Yoruba Medicine: The Unexplored Aspects of Bioethics." International Journal of Research and Innovation in Social Science VIII, no. I (2024): 850–65. http://dx.doi.org/10.47772/ijriss.2024.801064.

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Taboo and bioethics constitute two major fundamental elements of the practice of traditional Yoruba medicine (TYM) that are intricately linked yet largely unexplored. However, their importance can be truly exemplified in the sustenance and maintenance of the ontological harmony between man and its environment, which in an apt sense is basic to averting unforeseen dangers to human life. This paper is therefore an attempt to bring to limelight, the indispensable aspect of taboos especially in relation to the study of bioethics in traditional Yoruba Medicine. It vehemently argues that taboo and i
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6

Capo Chichi, Sandro. "On the Etymology of the Yoruba Theonym Shango." Yoruba Studies Review 10, no. 1 (2025): 1–11. https://doi.org/10.32473/ysr.10.1.139147.

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This paper revisits the contested origins of Shango, a prominent Yoruba deity associated with thunder, lightning, and kingship. While Yoruba tradition often portrays Shango as an early king of Oyo who was deified, such accounts present inconsistencies. By examining linguistic evidence, the author proposes that the name Shango derives from the Gbari term ɛtswaʃɛ̰gʷo (ruler of the sky) and entered Old Oyo Yoruba via Nupe. In Gbari cosmology, ɛtswaʃɛ̰gʷo denotes a sky god, while in Nupe the borrowed form etsu ʃjə̰gʷo was reinterpreted as “King ʃjə̰go,” thereby blending notions of rulership with d
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7

Aremu, Moses A. "Practs of Deliberate Conceptual Mappings in Ahmed Yerima’s Abobaku." European Journal of English Language and Literature Studies 11, no. 2 (2023): 24–40. http://dx.doi.org/10.37745/ejells.2013/vol11n22440.

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Ahmed Yerima’s Abobaku is a drama that explains Yoruba cosmological belief in the concept of a scape-goat who dies to accompany Alaafin and other Yoruba Kings to the ancestral world.Despite its significance to Yoruba cosmology, Yerima’s Abobaku has not been given a full-blown pragmatic study. This paper therefore attempts to fill this existing gap by examining the practs of metaphor in it. Modified model of Mey’s (2001) pragmeme and Steen’s(2008) deliberate metaphor theory were used as the theoretical base of this study. The findings revealed that there are deliberate conceptual mappings of a
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8

Obafemi, Jegede. "Taboos and Medicine in Yoruba Medicine: The Unexplored Aspects of Bioethics." Mediterranean Journal of Social Sciences 15, no. 2 (2024): 45. http://dx.doi.org/10.36941/mjss-2024-0012.

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Taboo and bioethics constitute two major fundamental elements of the practice of traditional Yoruba medicine (TYM) that are intricately linked yet largely unexplored. However, their importance can be truly exemplified in the sustenance and maintenance of the ontological harmony between man and its environment, which in an apt sense is basic to averting unforeseen dangers to human life. This paper is therefore an attempt to bring to limelight, the indispensable aspect of taboos especially in relation to the study of bioethics in traditional Yoruba Medicine. It vehemently argues that taboo and i
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9

H. Fola, Kazeem, and Abiola Kalejaiye Oluwakemi. "Archetypes and functionality: examples of selected motifs in Yoruba folktales." Kampala International University Interdisciplinary Journal of Humanities and Social Sciences 5, no. 2 (2024): 44–50. https://doi.org/10.59568/kijhus-2024-5-2-04.

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This paper focuses on the theory of archetype in an attempt to investigate both the breath as well as the depth of Yoruba philosophy. This is meant to, apart from locating a universal framework around which the Yoruba mind works, also validate the claim that the ‘non-tangible’ thought of man could be transformed, as it were, to assume a material form. When this is done, it would erect lasting structures in the form of motifs in the human mind. Indeed, one of the sundry manifestations of the exercise of the imagination among Yoruba people is the folktale. It involves a pot-pourri of forms as so
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10

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 (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 ar
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11

Basundhara, Raj Dasgupta. "Literature as Resistance: Redefining Identity through Language and Mythopoeia." Criterion: An International Journal in English 16, no. 1 (2025): 899–910. https://doi.org/10.5281/zenodo.14980195.

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This paper will examine how literature is a tool of resistance against dominant narratives and how Amos Tutuola uses myth retellings to create a distinct Yoruba cosmology amidst the Western imposition of culture and belief systems. The study will analyze the language used by Tutuola that opposes the Western linguistic system and how the English of the colonizers becomes a vessel to preserve Yoruba identity. The paper will specifically ask how mythical retellings and language were used by Amos Tutuola to reclaim the marginalized African voice during colonization. The research will evaluate cult
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Fagbe, Abimbola, Ucheawaji G. Josiah, and Eleazar E. Ufomba. "Creation, Preservation and Documentation of Oral Tradition in Ancient Yorùbá and Hebraic Cultures." Yoruba Studies Review 9, no. 1and2 (2024): 127–42. https://doi.org/10.32473/ysr.9.1and2.137828.

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Oral tradition in both ancient Yoruba and Hebraic cultures has remained challenging in contemporary times. This study therefore comparatively examines the creation, preservation, and documentation of oral tradition in ancient Yoruba and Hebraic cultures with the view to evaluating its transition and historical trajectory. Historical narrative and documentary/archival research methods as well as Key Informant Interview (KII) employed in this study. Data was generated and subjected to content analysis. In Yoruba cosmology, oral traditions created were more concretized in the minds of people thro
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13

Oki, Olumide J., Olubunmi E. Oki, and Victor K. Olukoju. "Subtleties, Subtext, and Layers of Meaning in Samuel Obikoya’s Àìkú." Global Academic Journal of Linguistics and Literature 7, no. 01 (2025): 1–9. https://doi.org/10.36348/gajll.2025.v07i01.001.

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Culture is a vehicle for communication. Language, symbols and beliefs or religion being intrinsic elements of culture can greatly contribute to the effective communication and understanding of a dramatic message. Samuel Obikoya’s “Àìkú” reimagines the biblical story of creation and humanity’s fall through the lens of Christian theology and Yoruba cosmology, blending allegorical depth with rich spiritual and cultural aesthetics. This study examines the subtleties, subtext, and layers of meaning within Àìkú, analyzing how Obikoya employs symbolism, oral traditions, and allegory to convey complex
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14

Olayiwola, Mopelola Rachael, and Solomon Olusayo Olaniyan. "Metaphoric Representations of Spirituality in Ebenezer Obey’s Music." Àgídìgbo: ABUAD Journal of the Humanities 12, no. 2 (2024): 379–93. https://doi.org/10.53982/agidigbo.2024.1202.28-j.

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This paper investigates the synergy that exists between metaphor and spirituality within the Yoruba cosmology as exemplified in the music of Ebenezer Obey. The study underscores the authenticating role metaphor plays in the concretisation of Yoruba beliefs in the existence of a supernatural world. The existing variations of independent studies on both concepts attest to the rich cognitive influence both ideologies evoke within the academia. However, most of the extant studies carried out on these concepts have mainly honed their distinctive strengths. The corpus of research on metaphor relates
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15

Zeyd, Nasr Hâmid Ebû, and Numan Konaklı. "İslami Kozmoloji ve Kur'ani Yorum." Marife 11, no. 1 (2011): 169–81. https://doi.org/10.5281/zenodo.3344264.

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16

Hansen, Robin Wildt. "Cosmogony through division in Romanian and world mythology." Studii de istorie a filosofiei românești 2023, no. 19 (2023): 171–78. http://dx.doi.org/10.59277/sifr.202319.11.

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In this paper, an interpretation is attempted of the Romanian myth, “Legenda despre zidirea lumii”. Parallels are drawn with tales such as Genesis, the Babylonian narrative of Marduk constructing the world from Tiamat, and the Norse story of Odin shaping the world from Ymir. In the Romanian myth, Satan’s prideful omission to enunciate God’s blessing as he collects sand results in the formation of varied terrains. His attempt to harm God inadvertently spreads divine blessings all over the world. Similarly, in Norse and Yoruba myths, stifling barriers and attempts at desecration lead to the para
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17

Monroe, Raquel. "Beyoncé's Super Bowl Spectacles and Choreographies of Black Power in the Movement 4 Black Lives." Dance Research Journal 53, no. 2 (2021): 161–76. http://dx.doi.org/10.1017/s0149767721000231.

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AbstractIn this article, I argue that the spectacle of American football, and the performance practices of HBCU dance lines birthed within it and seasoned in queer nightclubs, propelled Black “femme-inintiy” from the sidelines to the center of choreographic and discursive practices of Black liberation. I wed queer Black feminism with Yoruba cosmology to analyze three protests instigated during three NFL events in 2016: Beyoncé's Super Bowl performance, the direct actions of Black Lives Matter activists at the Super Bowl, and Assata's Daughters’ protest at the NFL Draft. Ultimately, I theorize
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18

Adedeji, Joseph Adeniran, and Liora Bigon. "Cityscapes of Hunting and Fishing: Yoruba Place-Making and Cultural Heritage for a Sustainable Urban Vision." Sustainability 16, no. 19 (2024): 8494. http://dx.doi.org/10.3390/su16198494.

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Literature on African urbanism has generally lacked insight into the significant roles of hunters and fishers as city founders. This has resulted in a knowledge gap regarding the cultural foundation of the cities that could enhance policy frameworks for sustainable urban governance. This article examines corollaries related to the complementarities of hunting and urbanism with case studies from the ethno-linguistic Yoruba region in southwestern Nigeria. Through qualitative methodologies involving ethnography and the (oral) history of landscapes of hunting from the pre-colonial and (British) co
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19

Adelakun, Abimbola. "I am hated, therefore I am: The Enemy in Yorùbá Imaginary." Yoruba Studies Review 3, no. 1 (2021): 1–18. http://dx.doi.org/10.32473/ysr.v3i1.129928.

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This essay will study how the Yorùbá conceptualize “ọ̀tá” or the enemy, a trope that recurs in various cultural phenomena such as music, prayers, and other social rituals. The Yorùbá worldview of the enemy has profound implications on the way they frame issues that affect their mental, physical, social, and general well-being. Health studies, religious studies, and social ethics studies and analyses have mostly tried to investigate the enemy as a concept borne out of Yorùbá cosmology which serves as a conduit for superstition, fear, and other seemingly irrational behavior. In this essay, I fra
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Ajibade, George Olusola. "Water Symbolism in Yorùbá Folklore and Culture1." Yoruba Studies Review 4, no. 1 (2021): 1–25. http://dx.doi.org/10.32473/ysr.v4i1.130029.

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Water is not only a physical substance; it is also an intrinsic part of peoples’ identity, cultural perception, religious beliefs and worldviews. Water is a relevant and a significant variable that is also germane to the understanding of Yorùbá peoples’ identity, culture and religion. Hence, this ethnographical and literary study examines the image of water in Yorùbá cosmology using folklore (oral texts) of the people as paradigms. It uses a field investigative method of research to elicit primary data from the people on the uses of water in diverse spheres of life. It supplements oral data wi
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Salami, Minna. "African Feminist Individuation." Feminist Formations 36, no. 3 (2024): 17–32. https://doi.org/10.1353/ff.2024.a950658.

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Abstract: This essay explores the relevance of Jungian individuation within African feminist political philosophy. It examines the rise of populism in Africa and the persistent debate between individualism and communitarianism, which often distracts from addressing patriarchy. By integrating Jungian individuation with African feminism and Yoruba cosmology, a novel approach is proposed to transcend this dualism. The essay critiques the rise of Populist Anti-Western Nativism (PAWN), highlighting its detrimental impact on African feminist efforts and its promotion of reactionary, patriarchal, and
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Azashi Agyo, Azetu. "Literary Narratives and Cultural Identities: A Critical Analysis of Dele A. Sonubi’s the Grand Father’s Mandate." Universal Library of Arts and Humanities 02, no. 01 (2025): 21–28. https://doi.org/10.70315/uloap.ulahu.2025.0201004.

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Stories have always been powerful vessels of culture, memory, and identity, especially in African literature, where oral traditions continue to shape the way people see themselves and their world. Dele A. Sonubi’s novel, The Grandfather’s Mandate, brings this rich tradition to life by exploring the tensions between Yoruba heritage and the pressures of Western influence. At its heart, the novel follows a protagonist caught between two worlds—torn between honoring his grandfather’s dying wish and navigating the realities of modern society. This struggle echoes W.E.B. Du Bois’s idea of “double co
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Oyèláràn, Ọlásopé O. "Èṣù and ethics in the Yorùbá world view". Africa 90, № 2 (2020): 377–407. http://dx.doi.org/10.1017/s0001972019001098.

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AbstractÈṣù of the Yorùbá tradition, the custodian of the primordial àṣẹ, embodies the principle of perspicacity and pragmatism that is crucial for the exercise of responsibility by sentient and thinking beings. As such, Èṣù demands the ultimate in consciousness as a basis for just living and for a just measure of reward or sanction. Èṣù calls for painstaking commitment to rigorously distilled information and keen consciousness as preconditions for action of any sort, especially for the exercise of judgement, a compelling gesture of the human will. Scholarly and/or zealous traditions have, how
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24

Suell, David Thomas. "Leave the Dead Some Room to Dance: Postcolonial Founding and the Problem of Inheritance in Wole Soyinka’s A Dance of the Forests." Political Theory 48, no. 3 (2019): 330–56. http://dx.doi.org/10.1177/0090591719878403.

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In this essay, I examine Nigerian playwright Wole Soyinka’s A Dance of the Forests in order to think through political founding. Viewing founding from the postcolonial context, I explore how members of a political community negotiate among the multiple pasts that continue to affect them, and what kind of institutions and actors are best equipped to pursue this critical part of the founding project. Situating Soyinka’s account against competing narratives of the postcolonial condition, I demonstrate how he uses Yoruba philosophy and cosmology to reframe the challenges and potentials of founding
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Rapetti, Valentina. "La rinascita della tragedia dallo spirito del blues nel teatro di August Wilson." Le Simplegadi 18, no. 20 (2020): 147–61. http://dx.doi.org/10.17456/simple-163.

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Born in 1945 in Pittsburgh, Pennsylvania, August Wilson was the most prolific and represented African American playwright of the twentieth century. His Century Cycle, a series of ten plays that chronicle the lives of African Americans from the early 1900s to the late 1990s, is an expression of Wilson’s spiritual realism, a form of drama that, while adhering to some conventions of the Western realist tradition, also introduces elements of innovation inspired by blues music and Yoruba cosmology. This essay analyses the double cultural genealogy of Wilson’s work to show how, despite respecting th
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Marrero, Roberto Garcés. "Olokun en África y en Cuba. Cosmología afrocubana y tradición oral." Polish Journal of the Arts and Culture New Series, no. 15 (1/2022) (October 21, 2022): 85–101. http://dx.doi.org/10.4467/24506249pj.22.004.16026.

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En este texto se intenta comprender elementos de la cosmología afrocubana, en particular, la de origen yoruba, a través del análisis de algunos patakí (historias/leyendas) que cuentan la historia de Olokun, la deidad de las profundidades marinas. Para esto se lleva a cabo, en primer lugar, una comparación entre cómo se manifiesta su culto en África y en Cuba, para luego analizar desde un punto de vista fenomenológico los patakí que se conservan en la Isla. Estos patakí fueron recogidos a partir de un trabajo de campo realizado durante varios años en algunas provincias de la región centro-occid
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Deese, Adrian M. "Vernacular historiography and self-translation in early colonial Nigeria: Ajiṣafẹ's History of Abẹokuta". Africa 91, № 5 (2021): 768–89. http://dx.doi.org/10.1017/s0001972021000577.

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AbstractEmmanuel Olympus Moore (aka Ajiṣafẹ) (c.1875/79–1940) was a pioneer of Nigerian Yorùbá literature and popular music. Ajiṣafẹ was one of the most significant Nigerian popular cultural figures of his generation. Written during the amalgamation of Nigeria, his History of Abẹokuta (1916) (Iwe Itan Abẹokuta, 1924) is a seminal text for our understanding of Abẹokuta and the Ẹgba kingdom. This article examines the bilingual passages of the History in which Ajiṣafẹ invokes oral history to construct a religious ethnography of the early Ẹgba polity. Self-translation enabled vernacular authors to
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28

Nyarko, Nyamekye, and Joseph Aketema. "Reasserting Tunde Kelani’s Auteurism: A Review of his Artistic Signature in Arugba." International Journal of Current Research in the Humanities 26, no. 1 (2023): 418–32. http://dx.doi.org/10.4314/ijcrh.v26i1.25.

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Tunde Kelani (TK) is one of the few astute filmmakers of the African continent whose cinematic works defy laid-down artistic styles and conventions. He expresses his cinematic language and narrative styles, which famously pay high credence to Yoruba cosmology, beliefs, and poetic and folkloric narrative elegance. Tunde Kelani’s auteurial and linguistic styles reflect every other artistic work he produces. Apart from giving his audience something of traditional and Afrocentric worth, he heightens themes of corruption and its devastating consequences on society through his films. Through content
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Harlin, Kate. ""One foot on the other side": Towards a Periodization of West African Spiritual Surrealism." College Literature 50, no. 2-3 (2023): 295–322. http://dx.doi.org/10.1353/lit.2023.a902220.

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Abstract: For both writers and scholars of African and diaspora literature, genre is a fraught concept. Western institutions, especially departments of English literature, have used the tool of genre to discipline Africana literatures and the people who create them, at once reducing conventional realism to a source of anthropological information and mischaracterizing realism with an indigenous or Nonwestern worldview as fantasy or "Magical Realism." "West African spiritual surrealism," as defined in this essay, offers a generic rubric that both attends to the literalization of Igbo and Yoruba
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Chuks., Madukasi Francis. "Aso-Ebi (Group Uniform): An Imported Symbolic Culture That Projects Solidarity And Cohesion in Traditional Igbo Cosmology." International Journal of Social Sciences and Humanities Invention 5, no. 3 (2018): 4461–73. http://dx.doi.org/10.18535/ijsshi/v5i3.01.

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It is a known fact that every culture has the responsibility of describing reality, its origin and models of structural development as well as the hidden knowledge and truth about being. This responsibility is evidently illustrated, addressed or depicted in Igbo paradigm in form of symbols. Devoid of these symbols, signs and images, the traditional life experiences of the Igbo’s will completely be void, abstract and meaningless because some of these symbols represented in tangible visible forms were believed to be real and living. This paper focuses towards understanding Aso-ebi cloth in the I
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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 (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.
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Pardey, Hannah. "Dramatic Dissent in Wole Soyinka’s Metaphysical Play Death and the King’s Horseman (1975) and Biyi Bandele’s Netflix Adaptation Elesin Oba: The King’s Horseman (2022)." Matatu 54, no. 2 (2023): 173–203. http://dx.doi.org/10.1163/18757421-05402002.

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Abstract Approaching the theme of this special issue as a dramatic structure, the contribution investigates the representation of dissenting practices in Wole Soyinka’s Death and the King’s Horseman and Biyi Bandele’s Elesin Oba: The King’s Horseman. First published in 1975, Soyinka’s metaphysical play dramatises the events surrounding the eponymous protagonist Elesin Oba who, according to Yoruba cosmology, must follow the king in death to ensure harmony between this world and the next. Questioning both metaphysical and Marxist readings of the play, I argue that its employment of ritual as a d
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Harvey, M. L. "Deity from a Python, Earth from a Hen, Humankind from Mystery: Narrative and Knowledge in Yorùbá Cosmology." Estudos de Religião 29, no. 2 (2015): 237–70. http://dx.doi.org/10.15603/2176-1078/er.v29n2p237-270.

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34

Apter, Andrew. "Frobenius unbound." Paideuma 68 (April 18, 2023). http://dx.doi.org/10.21248/paideuma.110.

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Whatever one thinks of his controversial reputation as a provocative gadfly among pioneering African ethnologists, Leo Frobenius contributed signifi-cantly to African studies, not only during his prodigious documentary expeditions throughout the continent but also via his productive imagination in perceiving pat-terns, regional affinities, and even hidden historicities within African cosmologies and their material forms. In this article, I return to Frobenius’s theory of Atlantis as the absent ‘origin’ of Yoruba culture and civilization. At worst, his theory can be read as a contrived variatio
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"Yoruba Cosmology and Mythology in Wole Soyinka’s The Road." International Journal of African and Asian Studies, October 2021. http://dx.doi.org/10.7176/jaas/76-08.

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36

Popoola, Olumide. "“Do you need some more explanation?” Practice-led research and the novel Fishing for Naija." Writing in Practice 2 (February 11, 2016). https://doi.org/10.62959/wip-03-2016-01.

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This article discusses a practice-led PhD in creative writing that comprises a novel and critical reflection. Border-crossing, borrowed from Gloria Anzaldúa’s book Borderlands/La Frontera (1987), forms the overarching keyword and central tool to contextually tie together theoretical research and practical investigations around language, voice, character development and plot. In the novel, questions of positioning and representation are answered for the protagonist Karl, a young trans* person. We witness Karl and his best friend Abu’s coming of age, and explorations of gender, against the backd
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37

Francis, Dr Kela Nnarka. "The Spirituality of Carnival: Using Yoruba Cosmology to Read the Dragon Can’t Dance." International Journal of Art and Art History 3, no. 1 (2015). http://dx.doi.org/10.15640/ijaah.v3n1a3.

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38

Ebenezer, Elesemoyo. "ỌBÀTÁLA RELIGIOUS GROUP AMONG THE YORUBA OF ILÉ-IFẸ̀". Database of Religious History, 27 червня 2024. https://doi.org/10.5281/zenodo.12574740.

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ỌBÀTÁLA RELIGIOUS GROUP AMONG THE YORUBA OF ILÉ-IFẸ̀ The Ọbàtálá religious group forms one of the cardinal traditional religious groups among the Yoruba in southwestern Nigeria. Just like most other groups, it is affiliated with one of the primordial deities in the Yoruba pantheon. Ọbàtálá is also called Òrìsà ńlá. Ọbàtálá is believed among the Yoruba of Ile-Ife to be the arch divinity whom Olódùmarè (the Supreme Being in Yoruba cosmology) saddled with the responsibility of creation of all that exists. It was noted that Ọbàtálá overindulged himself in drinking palm wine, he then stepped aside
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39

Alayande, Emmanuel. "MUSICAL ARCHIVING OF NIGERIAN ETHICS AND IDENTITY IN ÀGÍDÌGBO MUSIC OF YORÙBÁ, SOUTHWESTERN NIGERIA." African Musicology Online 8, no. 2 (2021). http://dx.doi.org/10.58721/amo.v8i2.9.

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Although, discursive engagement on archival narratives has obviously attracted a myriad of scholarly attention in so many dimensions, the extent to which such deliberation is extended to the inherent capacity of Nigerian indigenous music in archival discourse is scanty. In the same vein, the concept of ethics and identity have received much attention, but such attention cannot be said to have engaged the mind of scholars from musicological point of view in a densely manner. Whereas, many Nigerian traditional music represents a collection of documents thereby serving as means of recording histo
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