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Journal articles on the topic 'Yoruba drama'
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1
Ogunleye, Foluke. "A Male-Centric Modification of History; Efunsetan Aniwura Revisited." History in Africa 31 (2004): 303–18. http://dx.doi.org/10.1017/s0361541300003508.
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Historical drama can be described as a form of drama which purports to reflect or represent historical proceedings. Since time immemorial writers have combined fiction and history in creative works. Lawrence Langner has ascribed the popularity of historical drama to the desire of the theatergoer to spend an evening in the company of kings, queens, and other historical personages; the opportunity to become familiar with far greater events than those which take place in the lives of ordinary people; and that historical plays recreate great deeds done by great personages in the past. Historical facts are then creatively adapted and made available in play form to the audience. Adaptation has been defined as “the rewriting of a work from its original form to fit it for another medium … The term implies an attempt to retain the characters, actions, and as much as possible of the language and tone of the original…” The history play is also defined as “any drama whose time setting is in some period earlier than that in which it was written. We can also go further to describe the history play as one “that reconstructs a personage, a series of events, a movement, or the spirit of a past age and pays the debt of serious scholarship to the facts of the age being recreated.Judging from the foregoing, Akinwunmi Isola's play, Efunsetan Aniwura falls into the category of historical drama, treating as it does the story of the eponymous heroine who was the second Iyalode (queen of women) of Ibadan and who died on 30 June 1874. Prominent themes in Yoruba historical plays include war, conflict, and class struggle. Olu Obafemi has declared that the dramatization of the history, myth, and legends of the Yoruba community forms the bulk of the themes of Yoruba drama. These factors are vividly portrayed in Akinwunmi Isola's plays. Akinwunmi Isola is one of the most prolific playwrights who use their mother tongue to write plays in Nigeria. He is a Professor of Yoruba language and he uses the Yoruba language in writing his plays despite the fact that he is proficient in English and French languages.
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Gotrick, Kacke, and Benedict M. Ibitokun. "African Drama and the Yoruba World-View." African Studies Review 40, no. 3 (December 1997): 188. http://dx.doi.org/10.2307/524976.
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Balogun, Lekan. "Ori, Ritual and Yoruba Drama of Existence." IOSR Journal Of Humanities And Social Science 17, no. 1 (2013): 42–47. http://dx.doi.org/10.9790/0837-1714247.
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Vermeulen, Julien. "Wole Soyinka. Het Profiel van een Nobelprijswinnaar." Afrika Focus 3, no. 1-2 (January 12, 1987): 123–46. http://dx.doi.org/10.1163/2031356x-0030102007.
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It is always difficult to define exactly why a particular author has been awarded the Nobel Prize for Literature. This approach will deal with four different aspects which may have contributed to Wole Soyinka’s award. It cannot be denied that Soyinka is the author of an extensive and richly varied work, which has been appreciated by critics the world over. Especially the satirical qualities of his style have been praised on many occasions. But we have to focus our attention on two other important aspects. We can only achieve a full understanding of Soyinka's dramas when we interpret them against the background of Yoruba drama and Yoruba cultural tradition. And we can only appreciate Soyinka's work if we pay attention to the social context in which it is situated. This political commitment, as well as the international reputation Soyinka has helped to create as a director and an actor, are essential elements that have contributed to this Nobel Prize award.
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Uddin, Md Abu Saleh Nizam. "Revisiting Alu of The Swamp Dwellers by Soyinka and Views by Beauvoir in The Second Sex: Unifying Humanity Versus Feminist Separatism." Indonesian Journal of English Language Studies (IJELS) 8, no. 1 (March 17, 2022): 17–32. http://dx.doi.org/10.24071/ijels.v8i1.3788.
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This paper concentrates on a comparative study between Alu of the drama The Swamp Dwellers by Soyinka and the Feminist views of Beauvoir in The Second Sex while the areas of the drama so far explored and discussed are native narrative, political views, decline through modernization, moral-spiritual standpoint, family bonding and human-nature tie. In the drama, if the vital role played by Alu is construed, she appears as a woman figure of infinite capaciousness with her duties, responsibilities, feelings, commitments, rights and privileges in family and society. Alu succeeds because her human-centric Yoruba tradition gives support to her family-centric biology and psychology. But contrary to Alu, Feminist views disseminated by Beauvoir in The Second Sex embark on the estrangement of women from family and humanity. Thus, the paper seeks to unearth how Alu of Yoruba tradition harmonizes and unifies humanity through her role in family and society while Feminism of Beauvoir opposes them and wishes women to be separated. In this qualitative research of thematic analysis method, Family Systems Theory and Religious Humanism Theory were applied. By recommending for women the re-introduction of traditional human-centric life in family and society, this research may contribute to women’s emancipation from misery.
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Faniran, Keji Felix. "Analysis of Linguistic Features in the French Translation of Osofisan’s Once Upon Four Robbers." Journal for Foreign Languages 12, no. 1 (December 23, 2020): 27–42. http://dx.doi.org/10.4312/vestnik.12.27-42.
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From the onset, a linguistic feature is often one of the essential tools in analysing a literary work, and obviously it is sine qua non in translation studies. Many studies have been done on Osofisan’s Once Upon Four Robbers but the issue of translations made by non-Yoruba native speaker where the material contains Yoruba cultural items is a contentious one. Once Upon Four Robbers (1980) was translated by Nicole Medjigbodo (2003). The study employs descriptive and comparative research methods in analysing random data taken from the source and target texts. We adopt Seleskovitch and Lederer’s interpretative theory of translation (1970s). The theory postulates that the translation of a text should produce the same cognitive, affective and aesthetic effects on target readers as the original text does. The study, therefore, examines how to avoid translation loss or mistranslation and thus ensure that indigenous thoughts in African drama texts can be retained or translated with the use of illustrative devices. The study therefore concludes that the text is rich in Yoruba cultural features as the playwright is a Yoruba man, and the speech flow (intonation, accentuation and register) in the translated version is in line with the source text. This shows that the translated play can be performed in the same way and as effectively as the original.
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Adeseye, Bifátife Olufemi, Harry Olufunwa, and Afolabi Innocent Ariremako. "A literary analysis of Yoruba-Ifá oral poetry and its implication for entertainment and cultural education in Nigeria." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 8, no. 1-2 (March 11, 2022): 348–62. http://dx.doi.org/10.4314/ejotmas.v8i1-2.19.
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The article examines the potentials of Yoruba Ifá oral literature for entertainment and education, with an emphasis on the ways in which the desire for entertainment in narrative poetry can precede educational requirements. The study observes that Ifá narrative is an integral part of the complete Ifá divination process usually packaged in parable format. The inexhaustible nature of its source is affirmed by related studies done by Yoruba language and literature scholars. It is also observed that every attempt at translating any language to another often results in obliterating the imagery of the one being translated in the new presentation; hence, the study adopts the term transliteration. The literary stylistic devices employed in Ifá narratives are discussed; for easy reference, the study classifies the content of Ifá narratives into three principal genres; poetry, drama and music. This discourse is tailored to further appraise specific issues concerning the measurement and scoring Yoruba Ifá poetry using global parameters. The performance essence, as in dramaturgy, of the poetry is reserved for further investigation. Examples of Ese Ifá (Ifá verses) are subjected to repetition, parallelism and tonal counterpoint. The study affirms the applicability of Ifá oral literature to cartoon animation movies geared towards effective indigenization of the Yoruba child as a paradigm of the African child. The structure of the study is woven around folkism theory. The treatment adopts textual analysis in aesthetic evaluative style.
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Schiltz, Marc. "A YORUBA TALE OF MARRIAGE, MAGIC, MISOGYNY AND LOVE." Journal of Religion in Africa 32, no. 3 (2002): 335–65. http://dx.doi.org/10.1163/157006602760599944.
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AbstractIn this paper I approach the efflorescence of witchcraft-sorcery concerns in post-colonial Africa through the personal experiences of Délé, a Nigerian friend and research assistant. At one level, the witchcraft-sorcery incidents offer illustrations of the rural-urban conflict situations that the Comaroffs and other Africanists have written about in recent years. Yet at another level I read Délé's texts for what they are, the chronicles of a real-life drama in which he plays the tragic hero's role. As a storyteller, Délé recalls events in which the actors' virtues, vices, and emotions constantly mirror our own experiences of what people can turn out to be as they progress through life. In Délé's case I perceive such a progression in his shift from a virtue-centred Catholic upbringing in rural Ìséyìn to a more prayer/power-centred aládúrà-Pentecostalism in Lagos, when recently the spectres of mágùn sorcery and witchcraft began to close in on his marriage, livelihood and health. Délé's tale compels me, as a friend and correspondent with a different view of the world, to reconsider the morally universalising aspects of what it entails to be human. I attempt this from the triple perspective of Délé's ancestral roots in traditional Yoruba religion, his attraction towards aládúrà-Pentecostalism in a failed nation-state, and his nostalgia for the missionary Catholicism through which our friendship first developed.
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De la Cruz García, Katia. "Elementos y simbolismo del arquetipo filosófico afrocaribeño de Oshún en la obra Del amor y otros demonios." Literatura: teoría, historia, crítica 21, no. 2 (July 1, 2019): 229–64. http://dx.doi.org/10.15446/lthc.v21n2.78644.
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El presente artículo plantea el análisis de la obra Del amor y otros demonios (1994) de Gabriel García Márquez utilizando el oráculo de Ifá como principal fuente mitológica, literaria y filosófica. Esta lectura propone el oráculo de Ifá como un sistema de significación mucho más relevante en el análisis de obras en el Caribe que los enfoques europeos. Se establece una comparación entre Sierva María de Todos los Ángeles y la diosa yoruba Oshún, Óríshá del amor, así como de su imagen sincretizada en la virgen de la Caridad del Cobre. La lectura de Sierva/Oshún se constituye como ejemplo de un arquetipo filosófico afrocaribeño al considerar los componentes estéticos y conceptuales de esta heroína/diosa en la obra y su representación del drama arquetípico.
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Adebanjo, Niyi. "Interrogating the justice system in a multi-ethnic state: a study of selected Yoruba video drama." AFRREV LALIGENS: An International Journal of Language, Literature and Gender Studies 6, no. 2 (September 15, 2017): 39. http://dx.doi.org/10.4314/laligens.v6i2.4.
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Ojaruega, Enajite Eseoghene. "One Text, Many Literary Traditions: The Multidimensionality of Wole Soyinka’s Death and the King’s Horseman." Afrika Focus 34, no. 2 (December 14, 2021): 262–82. http://dx.doi.org/10.1163/2031356x-34020004.
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Abstract Death and the King’s Horseman, published in 1975, is undoubtedly Wole Soyinka’s most acclaimed play. When awarding the playwright the Nobel Prize in Literature in October 1986, the Committee specifically cited it as a “drama of existence”. Many literary critics have written about the play from multifarious perspectives. However, the dramatic text is still open to multidimensional interpretations that can further illuminate the rich texture of this canonical work. My study contextualises this dramatic masterpiece as yielding to a form of critical inquiry that makes it cohere with definitions of various literary traditions. It can be interrogated as Yoruba/Nigerian national literature, African literature, postcolonial literature, and world literature. It is, therefore, in this effort to use many approaches to see the play as a holistic text that I have chosen to interrogate it as “one text, many literary traditions”.
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Rapetti, Valentina. "La rinascita della tragedia dallo spirito del blues nel teatro di August Wilson." Le Simplegadi 18, no. 20 (November 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 the Aristotelian principle of mìmesis, his playwriting draws on a quintessentially black aesthetic. In conceiving of theatre as a ritualistic performative context where music and words intertwine, Wilson restored what Friedrich Nietzsche regarded as the authentic spirit of Greek tragedy – the harmony between Dionysian and Apollonian – while at the same time injecting an African American ethos into the Western theatrical canon.
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Hale, Henry E. "Cause without a Rebel: Kazakhstan's Unionist Nationalism in the USSR and CIS." Nationalities Papers 37, no. 1 (January 2009): 1–32. http://dx.doi.org/10.1080/00905990802373603.
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Why would elites or masses in an ethnically distinct region ever opt for “alien rule” over national independence? While separatist movements tend to create the most drama and make the most headlines, mass media and most scholarly accounts pay far less attention to ethnic groups opting to stay in a union state dominated by other groups. Yet such unionist groups are surely more numerous than the separatist ones. Indeed, in the neighborhood of almost every separatist region in a given multi-ethnic state, one can find one or more unionist groups, such as the Yoruba during Nigeria's Biafran Civil War, the Ingush as Chechnya battled the Russian Federation, and the Kannadigas at the peak of Kashmir's struggle for independence from India. Sometimes, unionist groups advocate political integration despite seeming to have every reason to seek secession. Such groups are neglected by analysts only at great cost, because it is precisely these groups that are likely to hold the key to understanding how distinct groups can come to live together in peace.
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Afrougheh, Shahram, and Atefeh Lieaghat. "The Adaption of Grice’s Maxims in Wole Soyinka’s Discourse in The Strong Breed." Khazar Journal of Humanities and Social Sciences 20, no. 4 (December 2017): 47–55. http://dx.doi.org/10.5782/2223-2621.2017.20.4.47.
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This study tries to find the adoption of Grice’s Maxims in Soyinka's discourse in The Strong Breed (1962). In addition to, it seeks to find in which mutual conversations of all parts of drama the writer obeys Grice’s principles. Soyinka in this drama depicts how ritual and superstitious beliefs cover the social life.In Yoruba the village where the events occur; the villagers believe that before each New Year one strong and strange person should sacrify to purify the society for arriving in New Year.This idea conveys among the characters by reciprocal conversation. Since this play focuses on the real social issue,this paper attempts to concentrate on the conversations in order to find in which dialogues the writer adapted discourses of his characters by Grice’s Maxims (Quality, Quantity, Relation, Manner). Regarding theses principles,centre on discourses's principles this research tries to find the characteristics of these Maxims. As a matter of fact, Maxim of Quantity centres on an equal amount of words which convey the idea in aproper way. In Maxim of Quality Grice concentrates on thetruth that the dialoguess hould be taken correctly and truly.To Grice another principle is Maxim of Relation with regard to the relationship between the subject and content. Besides, Maxim of Manner converges on four avoidances; to mention a few, obscurity, ambiguity, briefly and orderly. With reference to these principles this research attempts to apply these Maxims on The Strong Breed in order to find adoption of reciprocal conversations by Soyinka. Regarding it tries to look for the dialogues which obey Grice’s Maxims.
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Zapkin, Phillip. "Femi Osofisan’s Evolving Global Consciousness in Four Adaptations." Modern Drama 64, no. 4 (December 1, 2021): 478–500. http://dx.doi.org/10.3138/md.64-4-1044.
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Femi Osofisan is one of contemporary theatre’s greatest adapters. His dramaturgy frequently intertwines European texts with Yoruba songs, dances, rituals, and other cultural elements to break down ostensible cultural barriers. This article interprets Osofisan’s career as a movement from domestic to international concerns, charting the evolution of his dramaturgical approach from his early to later works to demonstrate his expanding cosmopolitan and postcolonial engagements. I argue that four of his adaptations – Who’s Afraid of Solarin? (1978), Tegonni (1994), Wesoo, Hamlet! (2003), and Women of Owu (2004) – serve as an index of Osofisan’s artistic focus as it shifts from a concentration on Nigeria’s domestic problems to expressing a Nigerian perspective on global issues. The latter three plays rely on complex and dynamic intertextuality, reflecting a postmodern self-consciousness as Osofisan metatheatrically explores the processes of performance, theatre, and art through direct interplay between his own characters and those of his Greek or Shakespearean sources. This argument challenges accounts of Osofisan’s career that emphasize an exclusive interest in Nigeria’s domestic politics, arguing instead that his drama is involved in a longstanding project of intercultural adaptation as a means of addressing international political, economic, and security problems.
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Aderemi Adeoye, Michael. "Ẹnu dùn ń rò’fọ́…: Theatre design, audience cognition and dramatic adaptation of Fagunwa’s texts." Journal of Adaptation in Film & Performance 13, no. 3 (December 1, 2020): 185–202. http://dx.doi.org/10.1386/jafp_00027_1.
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The stage performance of Langbodo, a play, which Nigerian dramatist Wale Ogunyemi adapted from Soyinka’s The Forest of a Thousand Daemons, which, in turn, is a translation of D. O. Fagunwa’s prose, Ògbójú Ọdẹ Nínú Igbó Irúnmalẹ̀. 'The bold hunter in the daemon-infested forest', exposed the limitation of the text as a bearer of meaning in the theatrical adaptation context. The limitation is analysed in this work to justify the centrality of adaptation in bridging the text-design-audience semiotic gap. This study examines the technical challenges of theatre design in D. O. Fagunwa’s works resulting from their adaptation as drama. The Yoruba apothegmatic idiom, Ẹnu ‘dùn ń rò’fọ́, agada ọwọ́ ṣeé ṣán’ko (which means, literally, that ‘vegetable soup can be prepared orally if a mere hand suffices for a cutlass’), a traditional derision for the inadequacies of the text, and the Barthesian notion of intertextuality serve as a dual theoretical structure in this study. A combination of methodologies including participant observation and ethnographic approach suffice for the retrieval and analysis of performance materials, respectively. Therefore, the study contends that the process of stage adaptation in Wale Ogunyemi’s play, Langbodo, used the technical contributions of theatre design, as a catalyst for connecting Fagunwa’s ideas to the final audience.
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BALME, CHRISTOPHER. "J.B. ALSTON: Yoruba Drama in English: Interpretation and Production. [Studies in African Literature; 1]. (Lewiston KY: Edwin Mellen, 1989). 192 pages. US$ 59.95." Samuel Beckett Today / Aujourd'hui 12, no. 1 (December 8, 2002): 231–32. http://dx.doi.org/10.1163/18757405-90000148.
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Balme, Christopher. "J.B. ALSTON: Yoruba Drama in English: Interpretation and Production. [Studies in African Literature; 1]. (Lewiston KY: Edwin Mellen, 1989). 192 pages. US$ 59.95." Matatu 12, no. 1 (April 26, 1994): 231–32. http://dx.doi.org/10.1163/18757421-90000108.
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Aboelazm, Ingy. "Africanizing Greek Mythology: Femi Osofisan’s Retelling of Euripides’the Trojan Women." European Journal of Language and Literature 4, no. 1 (April 30, 2016): 87. http://dx.doi.org/10.26417/ejls.v4i1.p87-103.
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Nigerian writer Femi Osofisan’s new version of Euripides' The Trojan Women, is an African retelling of the Greek tragedy. In Women of Owu (2004), Osofisan relocates the action of Euripides' classical drama outside the walls of the defeated Kingdom of Owu in nineteenth century Yorubaland, what is now known as Nigeria. In a “Note on the Play’s Genesis”, Osofisan refers to the correspondences between the stories of Owu and Troy. He explains that Women of Owu deals with the Owu War, which started when the allied forces of the southern Yoruba kingdoms Ijebu and Ife, together with recruited mercenaries from Oyo, attacked Owu with the pretext of liberating the flourishing market of Apomu from Owu’s control. When asked to write an adaptation of Euripides’ tragedy, in the season of the Iraqi War, Osofisan thought of the tragic Owu War. The Owu War similarly started over a woman, when Iyunloye, the favourite wife of Ife’s leader Okunade, was captured and given as a wife to one of Owu’s princes. Like Troy, Owu did not surrender easily, for it lasted out a seven-year siege until its defeat. Moreover, the fate of the people of Owu at the hands of the allied forces is similar to that of the people of Troy at the hands of the Greeks: the males were slaughtered and the women enslaved. The play sheds light on the aftermath experiences of war, the defeat and the accompanied agony of the survivors, namely the women of Owu. The aim of this study is to emphasize the play’s similarities to as well as shed light on its differences from the classical Greek text, since the understanding of Osofisan’s African play ought to be informed by the Euripidean source text.
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Agbetuyi, Olayinka. "Authority and Moral Conflicts in the Films of Adébáyọ Fálétí: Àfọ̀njá, Gáà, Ṣawo Ṣẹ̀gbẹ̀rì and the Yorùbá Cosmopolis." Yoruba Studies Review 3, no. 2 (December 21, 2021): 1–13. http://dx.doi.org/10.32473/ysr.v3i2.129990.
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In this piece, I examine the role of authority in Yorùbá society and how au[1]thority is subverted by moral conflicts generated in the political evolution of the Yorùbá state from city state to empire, leading to disastrous consequences in the society at large as presented in the films of Adébáyọ Fálétí, specifically in Àfọnjá (2002), Basọrun Gáà (2004) and Ṣawo Ṣẹgbẹ ̀ rì̀ (2005). I argue that such pains and pangs of transformation are not unique to Yorùbá society but mirror similar political evolutions in other societies such as Rome and Greece. Such political upheavals led to the celebrated assassination of Julius Caesar in Rome and Alexander the Great of Macedonia. In particular Àfọnjá ̀ and Baṣọrun ̀ Gáà dramatize evocatively the poignancy of the attendant confrontations. In addition, I evaluate Adébáyọ Fálétí as a Nigerian and African foundational practitioner in the global field of cultural studies and his use of cultural post materialism in his work. Adébáyọ Fálétí can be regarded as the father of modern Nigerian Cultural Studies and in Africa in general in line with the way that the discipline is understood the world over standing, as it were, on the cusp of traditional Nigerian and African drama and modern drama in African mother tongues. In addition, Fálétí epitomizes what modern cultural studies world-wide represent as a cross between the traditional discipline of drama and the television 172 Olayinka Agbetuyi industries as well as filmic industries, along with advertisements, which together constitute what is today known as the culture industries. As defined in the words of Chris Barker, “Culturalism focuses on meaning production by human actors in a historical context.”1 Fálétí’s historical drama and films fall within such category. Barker added that Culturalism focuses on interpretation as a way of understanding meaning.”2 These are the hallmarks of the historical drama that formed the basis of two of the films by Fálétí being examined here. In addition, he stated that cultural studies deal with subjectivity and identity or how we come to be the kinds of people we are. Fálétí’s Afọnja and Gáà’s thematic preoccupation is how the Yorùbá subjectivity has been constituted over time through its political evolution. The three films also demonstrate what Stuart Hall considers to be the connection that cultural studies seeks to make to matters of power and cultural politics.3 With regards to the role of Fálétí as pioneer in the area of radio-vision cultural industries the broadcasting mogul narrated the manner in which he pioneered the phone-in radio broadcast in Nigeria on the programme “Ѐyí Àrà” at the Broadcasting Corporation of Ọyọ̀ ́ State, Ibadan (BCOS) after pioneering Yorùbá broadcasting on Africa’s first television station Western Nigeria Television (WNTV) twenty years earlier.4 Fálétí’s career spanning close to seven decades dovetails public services with private engagement with drama production. He was one of the earliest organizers of a drama performing company in 1949 to produce his own plays. His career development can be divided into three phases: the formative traditional drama performance phase, the literary drama phase which dovetails into his career as a public servant in a symbiotic relationship and his post public service movie production phase which coincided with the efflorescence of the Nollywood. The three works examined here straddle Fálétí’s second and third phases of engagement in drama production. Both Basọrun Gáà (to be hereafter referred to as Gáà) and Ṣawo Ṣẹgbẹ ̀ rì ̀ were first staged in the second phase of Fálétí’s development as a theatre practitioner. In addition to being staged in the theater, Gáà and Ṣawo Ṣẹgbẹ ̀ rì̀ were produced for tele[1]vision audiences as dramatic thrillers and became household favourites in the ‘70s and ‘80s at the time of his career as a radio/television broadcaster. Fálétí’s retirement from public service provided the opportunity needed to build on the experience gained in the television industry to launch a full-blown film production career for which his earlier experience seems to have been a tutelage. Àfọ̀njá (2002), Gáà (2004) and Ṣawo Ṣẹgbẹ ̀ rì ̀ (2005) are part of the products of this final phase. Although Àfọ̀njá preceded the other two in movie 1 Barker, Chris. Cultural Studies: Theory and Practice. London: Sage, 2012. 2 Barker. 2012, 17 3 Barker, 5. 4 Nigerianfilms.com. February 17, 2008. Accessed Aug 10 2018. Authority and Moral Conflicts in the Films of Adébáyọ Fálétí 173 production, it was the last to be written among the three and is organically a prequel which builds on the success of Gáà and extends a thematic continuum in the Fágúnwà-esque manner of the novels Ògbójú Ọde Ninu Igbó Irunmọlẹ and Igbo Olódùmarè. While Àfọ̀njá and Gáà are historical drama based on actual events in the history of the Yorùbá Empire, Ṣawo Ṣegberi is purely fictional and is based on a postcolonial Nigerian setting. The movies therefore take a reverse order to the chronology of writing and stage performance while Ṣawo Ṣẹ̀gbẹ̀rì, which was the first to be staged among the three, was not written for stage and television performance until it was script-written for film production.5 Àfọ̀njá, Gáà and Ṣawo Ṣẹgbẹ ̀ rì ̀ are each set in a cosmopolis where the Yorùbá citizens have to deal with other nationals in the context of Yorùbá mores within a broader cosmopolitan ethos. In Àfọ̀njá and Gáà that context is provided by the empire phase of Yorùbá civilization in which Yorùbá civilization was the dominant point of reference; in Ṣawo Ṣẹgbẹ ̀ rì ̀ the drama is situated in the context of postcolonial Nigerian city, in a nation that boasts large ethnic nationalities of which the Yorùbá are only one and in which Yorùbá culture is mediated by the postcolonial state with its symbol of the English language as the means of communication and its cultural spin offs. Fálétí demonstrates the mastery of dramaturgy in Àfọ̀njá and Gáà by juxtaposing the dynamics of running a state originally built on a confederation of city state structure very much like the Greek city state structure, at the latter’s comparative stage of political evolution, with a new imperial structure and the conflicts generated by the flux of the two systems; whereas in Ṣawo Ṣẹ̀gbẹ̀rì moral conflict is generated by interpersonal amatorial clashes as well as models of expertise.
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Akangbé, Clement Adéníyi. "A Survey of Audience Reception of Atọ́ka, A Yorubá Photoplay Magazine." Yoruba Studies Review 4, no. 1 (December 21, 2021): 1–22. http://dx.doi.org/10.32473/ysr.v4i1.130031.
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Atokạ́ is a Yorubá photodrama magazine produced in Lagos, Southwest Nigeria from 1967-1991. Published by West African Book Publishers (WABP) and printed by their sister company, Academy Press, Atoka ̣́ was a bi-monthly magazine which, while it lasted, hit the stands fortnightly. Extensive works have been done on Yorubá drama by several scholars. While some looked at specific theater companies, some studied the selected plays of particular companies, and some others examined the production of certain organizations at a particular phase. Despite these myriad of works, some other production media, particularly the stage, celluloid film, and home video film, have gained the attention of researchers extensively but photoplay in particular, and radio, television, and the phonograph-disc have not been so lucky. Apart from some works (Ogundeji 1981, Aro ́ ́hunmolas ̣́ ẹ ̣ 1982, Adeoye 1984, ́ Bolạ́ ́ji ́ 1985, Adéléke 1995, and Akangbé 2014) that referred to and passed comments on Yorubá photoplay, no one has carried out a seminal study on the history, production, and content of Atoka ̣́ photoplay magazine. None of the aforementioned endeavors focused on the audience reception of Atokạ́ photoplay magazine. By implication, there are very scanty works on the photoplay genre and virtually none on audience reception of Yorubá photoplay magazine. It is this yawning gap that this study intends to fill by studying the peculiarities of the readers of Atokạ́ photoplay magazine. This paper is divided into nine parts, namely: Abstract, Introduction, Overview of Yorubá 140 Clement Adéníyì Àkàngbé photoplay magazine, Reception theory, Methodology, Data analysis, Discussion of findings, Conclusion, and Recommendations.
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Taiwo, Adekemi Agnes. "New Media, Old Artistry: The Adaptation of Yorùbá Folktale Narrative Strategies in Video Films." Afrika Focus 32, no. 1 (February 27, 2019): 35–50. http://dx.doi.org/10.1163/2031356x-03201004.
Full textAbstract:
The argument of this study is that Yorùbá people continue to keep alive and sustain their society’s oral folkloric tradition and verbal art despite the changes undergone by Yorùbá folktales that have passed into written form and other (new) media. Verbal arts educate, reflect and promote culture, as well as, their well-known capacity to instil moral decency in a young audience. This paper explores the adaptation of Yorùbá folkloric form in film. The audience memory is reawakened through the conservation and propagation of folktale into drama form in the film, Ijàpá and Àjàntálá. Ìjàpá (tortoise) is well known for its trickish behaviour and nature while Àjàntálá is also known for his vicious behaviour. Their character was worn into human beings (artiste) to teach society moral lessons. These Yorùbá movies Ìjàpá and Àjàntálá were adapted from Yorùbá folktales to examine issues and themes that are germane to contemporary society. Ìjàpá was produced in 2011 while Àjàntálá was produced in 2015. The theory of intertextuality which is the way books, songs, films are linked or associated to one another is adopted for the research.
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Guanah, Jammy Seigha. "Photography and the use of photographs in photoplay magazines: An analysis of Atọ́ka, a photoplay magazine." Journal of African History, Culture and Arts 2, no. 4 (November 18, 2022): 201–13. http://dx.doi.org/10.57040/jahca.v2i4.313.
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Right from primitive times to date, the means of communication among men have been changing. The circle of change entails the period pictorial representations were used to communicate. It gravitated to the use of the photographs to pass messages when the first clear and permanent photographs were made in 1839. Today, photographs still communicate. At a time in Nigeria, drama was transmitted through the photoplay magazine. This has warranted this study which focused on Atọ́ka, a Yorubá photoplay magazine produced in Lagos, Southwest Nigeria from 1967-1991. It is a quantitative study that was hinged on Lookism theory. The study set out to ascertain if Atọ́ka photoplay magazine performed the functions of photographs in print communication; determine the extent photoplay magazine is a viable tool for drama presentation, and confirm if magazine design principles were adhered to in Atọ́ka photoplay magazine. The study period was 1984-1989. Results revealed that Atọ́ka photoplay magazine played the role of photographs in print communication. Also, the photoplay magazine remains a viable tool for drama presentation. The study concluded that the place of drama and communication in the life of man can never be wished away due to their importance. Therefore, it was recommended that photoplay magazines should be resuscitated, and there should be English and various language versions, and that play texts for schools, particularly secondary and tertiary institutions, should be made into photoplay magazine forms.
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Maledo, Richard Oliseyenum, and Emmanuel Ogheneakpobor Emama. "Wole Soyinka’s The Road as an intertext." Tydskrif vir Letterkunde 57, no. 2 (July 22, 2020): 26–36. http://dx.doi.org/10.17159/tl.v57i2.6617.
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Studies on African drama have shown the influences and the intertextual relations between African drama and European (Classical and Elizabethan) plays. It is also a known fact that African drama exhibits traces of African tradition and instances of textual relations with already existing oral and written texts. However, existing studies on Wole Soyinka’s The Road have tilted towards the usual literary interpretation or as a piece of theatrical performance with little attention paid to the intertextual nature of the text. Based on the challenges of these usual approaches to the study of literature by contemporary literary and cultural theories, this study adopts intertextual theory as a framework to examine Wole Soyinka’s The Road as an intertext showing traces of textual influences from oral and written external sources. The aim is to reveal the source texts from which the playwright draws in the creation of the text and to show how these sources contribute to the overall thematic significance of the play. Findings reveal that Soyinka draws extensively from Yorùbá oral sacred texts, the Bible, and his own earlier texts and that these sources contribute to the eclectic nature of the thematic preoccupation of the play. It is hoped that this has gone a long way to mitigate the obscure claim of structural and thematic incomprehensibility with which the play is associated.
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Adeyemi, Lere. "Alàgbà Adébáyọ̀ Fálétí as a Yorùbá Novelist." Yoruba Studies Review 3, no. 2 (December 21, 2021): 1–6. http://dx.doi.org/10.32473/ysr.v3i2.129988.
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In their introduction to a book entitled: Yorùbá creativity, fiction, language, life, and songs, Falola and Genova (2005) assert that creativity among the ̣ Yorùbá has a long history and the traditions of oral histories, storytelling, performances and dramas are parts of fundamental habit of their civilization. In the pre-colonial era, the authorship of the stories in the folktales and in some poetic genres could not be claimed by any particular artist/artiste, but due to the influence of colonial rule, western literary traditions, among others, storytellers can claim authorship of their works today. The Yorùbá make no distinction between myth, legend and history. They all come under ìtàn (Ogunsina, 1992). One Yorùbá novelist that has distinguished himself in the effective use of ìtàn (story) in novel writing is Adébáyò ̣ Fálétí. He is not only a storyteller, he is a literary historian. Every creative writer in Yorùbá society is admired and judged as competent or otherwise not only by writing in the medium of the language but by having captivating story line and on the basis of his/her use of ‘quality’ Yorùbá language (i.e. language full of proverbs and other rhetoric devices). An average Yorùbá reader of Fálétí’s novels, poetry, plays and viewer of his films usually responds with delight because of his powerful use of Yorùbá language and captivating story lines, plot construct, narrative techniques and thematic contents. Isọ la (1998) classifies all other Yorùbá major novelists apart from Fágúnwà ̣ into three groups on their use of language and creative pedigree (190). According to him, “some are mere story tellers” who use mainly casual language; 154 Lere Adeyemi there are others with mixed styles and there are a few of them who creatively exploit the genius of the language. He identifies Adébáyò ̣ Fálétí among few others as belonging to the genius category. Ogunsina (1992) groups Fálétí as a prominent historical novelist who incorporates historical materials into novel writing. I agree with Ogunsina that Fálétí’s effective transfer of histori ̣ - cal materials into fiction is a revelation of the novel’s eclectic quality and also a manifestation of Fálétí’s creative genius. Fálétí’s love of ìtàn (story) is reflected in all his literary works, be it poetry, play or novel. However, our focus in this study is to examine Adébáyọ̀ ̣ Fálétí as a Yorùbá novelist through his literary lens.
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Samuel, Kayode. "Viewing the African Political Leadership Challenge through the Lens of Music Drama: Reflections on Duro Ladipo’s Ọba Kòso." Yoruba Studies Review 6, no. 2 (January 27, 2022): 1–20. http://dx.doi.org/10.32473/ysr.v6i2.130284.
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In response to the question of the relevance of ‘classical’ African Studies to the contemporary need of the continent, this article explores the dynamics of leadership challenge as portrayed in Yorùbá music drama genre, using Duro Ladipo’s most popular folk opera: Ọba Kòso (The king did not hang) as a case study. Thematic exploration of the opera was carried out to establish the linkages between leaders’ (characters’) traits and styles as portrayed in the play, and Nigeria’s political leaders’ engagement and responses to social contracts with their citizens. By comparing the outcomes of the actions, inactions and (in) decisions of Nigeria’s political leaders and the attendant consequences on their subjects with those found in the opera. I argue that the African political leadership challenge is shaped by a combination of complex factors, including the leaders’ charisma and the quality of citizens’ engagements in the affairs of governance. These are largely occasioned by multiple effects of torrential and irresistible mob pressures on leaders. At the fringes of the debacle is a convergence of human fate and other coincidental elements within the various sites of the divide in the contestation for and utilization of power as a whole.
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Arije, Olujide, Temitope Ojo, Rachel Titus, Oluwatoyin Alaba, Abiodun Adegbenro, Fatou Jah, Scott Connolly, and Adedeji Onayade. "Young people’s perceptions about abortion in Southwest Nigeria: Findings from formative audience research." AAS Open Research 3 (March 10, 2020): 2. http://dx.doi.org/10.12688/aasopenres.13047.1.
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Background: Community dialogue around abortion in Nigeria often revolves around legality and morality. Termination of pregnancy is a criminal offense except in instances where the mother’s health is in jeopardy. Young people bear a huge burden of adverse outcomes from induced abortions in Nigeria therefore viable interventions are needed. This study explored adolescents and young people’s perceptions about abortion in three selected states in southwest Nigeria. Methods: This study is part of larger formative audience research (FAR) to gather information about the lives of married and unmarried adolescents and young persons in the study area to support the development of understandable, high-quality, and culturally appropriate radio serial dramas in the local language (Yoruba). We conducted 16 focus group discussion sessions that included questions on abortion among eligible male and female participants aged 15 – 25 years. This section of the discussion guide on abortion consisted of a set of open‐ended questions posed concerning the vignette of a young girl who was seeking to terminate a pregnancy. All discussions where transcribed verbatim and analyzed by thematic content analysis using ATLAS.ti 8 software. Results: Young people indicated that the general public looks unfavorably on abortion. However, personal opinions were likely to be based on whether the person was directly involved, as female participants were more open to the issue than males. Some female participants also indicated that compared with adults, young people had greater negative experiences when procuring abortion ranging from higher cost to stigmatization. Conclusions: In a background of restrictive abortion laws, negative societal perceptions about abortion and adverse outcomes associated with illegal abortion, young people are the most at risk of the harmful outcomes of procuring abortion in Nigeria. More innovative approaches are required to promote healthy sexual and reproductive health (SRH) among young people in Nigeria.
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ÜSTÜNER, Tamer. "Kahramanmaraş ve Adana illerinde yer alan şeker pancarı (Beta vulgaris L.) tarlalarında sorun olan yabancı ot türleri, yoğunluğu, rastlanma sıklığı ve kaplama alanlarının belirlenmesi." Mustafa Kemal Üniversitesi Tarım Bilimleri Dergisi 27, no. 3 (December 1, 2022): 512–24. http://dx.doi.org/10.37908/mkutbd.1101680.
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Amaç: Bu çalışma, Kahramanmaraş ve Adana illerinde çeşitli ilçelerde bulunan şeker pancarı tarlalarında yabancı ot türü, yoğunluğu, sıklığı ve genel kapsama alanını belirlemek amacıyla yapılmıştır. Ayrıca 2000-2001 yıllarından 20 yıl sonra şeker fabrikası üretim alanları ile yabancı ot türleri ve yoğunluğunda meydana gelen değişimlerin belirlenmesi amaçlanmıştır.Yöntem ve Bulgular: Çalışma alanlarında görülen yabancı ot yoğunluğunu hesaplamak için 1 hektara 40 çerçeve kullanılmıştır. Yabancı otların türü, yoğunluğu, görülme sıklığı ve genel kapsama alanları hesaplanmıştır. Şeker pancarı tarlalarında çok yoğun olarak tespit edilen yabancı ot türleri sırasıyla, Sinapis arvensis L., Chenopodium album L., Echinochloa colonum (L.) Link., Cuscuta campestris Yunck., Amaranthus retroflexus L., Sorghum halepense (L.) Pers., Elymus repens (L.) Gould., Convolvulus arvensis L., Cirsium arvense (L.) Scop. ve Cardaria draba (L.) Desv. olarak belirlenmiştir. Önemli yabancı ot türlerinin sıklığı ve genel kaplama alanı % 64.9-50.1 ve % 62.8-50.0 arasındadır.Genel yorum: Kahramanmaraş ve Adana illerinde yer alan ilçelerdeki şekerpancarı tarlalarında 26 familyaya bağlı toplam 88 yabancı ot türü tespit edilmiştir. Bu yabancı ot türlerinden 1 tür tam parazit ve Pteridophyta, 18 Monokotiledon ve 68 tür Dikotiledon sınıfına aittir. Kahramanmaraş şeker pancarı tarlalarında 20 yıl önce yapılan araştırma sonuçlarına göre hem bugün belirlenen tür sayısında hem de çok yoğun görülen tür sayısında önemli artışlar olduğu gözlenmiştir.Çalışmanın Önemi ve Etkisi: Kahramanmaraş ve Adana illerinde bulunana şeker pancarı tarlalarında tespit edilen yabancı ot türleri ve yoğunluklarının ilçeden ilçeye değişiklik gösterdiği belirlenmiştir. Holo parazit C. campestris ile rizom ve stolon gövdeli bazı yabancı ot türleri yoğunluk bakımından şeker pancarı için önemli bir tehdittir.
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Afolayan, Adeshina. "Fálétí’s Philosophical Sensibility." Yoruba Studies Review 3, no. 2 (December 21, 2021): 1–10. http://dx.doi.org/10.32473/ysr.v3i2.129978.
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Let us begin with an unfortunate fact: Adébáyọ̀ Fálétí is one major writer that is hardly anthologized. The problem could not have been that he wrote in Yorùbá because Fágúnwà is far more anthologized than he is. Simon Gikandi’s edited Encyclopedia of African Literature (2003) has an entry and other multiple references to Fágúnwà. There is only one reference to Fálétí which is found in the index without any accompanying instance in the work. In Irele and Gikandi’s edited volumes, The Cambridge History of African and Caribbean Literature (2004), Fálétí only managed an appearance in the bibliography that featured four of his works—Wọn Rò Pé Wèrè Ni ́ (1965), Ọmọ Olókùn Ẹṣin (1969), Baṣòrun Gáà (1972) and Ìdààmú Páàdì Mínkáílù (1974). In the preface, Irele and Gikandi write: The scholarly interest in African orality also drew attention to the considerable body of literature in the African languages that had come into existence as a consequence of the reduction of these languages to writing, one of the enduring effects of Christian evangelization. The ancient tradition of Ethiopian literature in Ge’ez, and modern works like Thomas Mofolo’s Shaka in the Sotho language, and the series of Yorùbá novels by D. O. Fágúnwà, were thus able finally to receive the consideration they deserved. African-language literatures came to be regarded as a distinct province of the general landscape of imaginative life and literary activity on the African continent (2004, xiii). Essays 60 Adeshina Afolayan In fact, the publication of Fágúnwà’s Ògbójù Ọdẹ Nínú Igbó Ìrúnmalẹ (The ̀ Intrepid Hunter in the Forest of Spirits, 1938) made the chronology of literary events in Africa, and it misses out Fálétí’s 1965 work. In her “Literature in Yorùbá: poetry and prose; traveling theater and modern drama,” in the same volume, Karin Barber seems to redress this imbalance when she gives a place to Fálétí in her discussion of post-Fágúnwà writers. According to her, In the late 1960s and throughout the 1970s there was an explosion of literary creativity, with many new authors emerging and pioneering new styles and themes. Among the most prominent were Adébáyọ Fálétí whose ̀ Ọmọ Olókùn Ẹṣin (1969) is a historical novel dealing with a revolt against the overlordship of Ọyọ, and Ọládèjọ Òkédìjí, author of two brilliantly innovative crime thrillers (Àjà ló lẹrù, 1969, and Àgbàlagbà Akàn, 1971), as well as a more somber tragic novel of the destruction of a young boy who is relentlessly drawn into a life of crime in the underworld of Ifẹ (Atótó Arére, 1981). Notable also are Akínwùnmí Ìsòlá, whose university campus novel Ó le kú (1974) broke new ground in social setting and ambience; Afọlábí Ọlábímtán, author of several novels, including Kékeré Ẹkùn (1967), which deals with the conflicts arising from early Christian conversion in a small village, and Baba Rere! (1978), a contemporary satire on a corrupt big man; and Kólá Akínlàdé, prolific author of well-crafted detective stories such as Ta ló pa Ọmọ Ọba? (Who Killed the Prince’s Child?). These authors were all verbal stylists of a high order; they transformed the literary language, moving away from Fágúnwà’s rolling cadences to a more demotic, supple prose that successfully caught the accents of everyday life (2004, 368). While it may be misplaced to draw a comparison between Fágúnwà and Fálétí, there is a sense in which Fálétí’s demonstrates a more robust literary sensibility that goes beyond the allegorical into a realistic assessment of human relationship and sociality within the context of the Yorùbá cultural template. While Fágúnwà could not resist the influence of Christianity, and especially the allegorical motif of the journey in which humans encounter spiritual challenges (which John Bunyan’s Pilgrim Progress made popular), Fálétí is fundamentally a cultural connoisseur; a writer with a most intimate and dynamic understanding of the Yorùbá condition, especially in its conjunction with the political and sociocultural contexts of contemporary Nigeria. And we have Ọlátúndé Ọlátúnjí to thank for the deep exploration and interrogation of the fundamental poetic and literary nuances that Fálétí has left for us. In this essay, I will attempt to unearth the philosophical sensibility that undergirds Fálétí’s literary prowess, especially as demonstrated by his poems. Fálétí’s Philosophical Sensibility 61 Both the poets and the philosophers have always had one thing in common— the exploration of the possibilities that ideas and visions yield: As theoretical disciplines concerned with raising social consciousness, philosophy and literature engage in similar speculation about the good society and what is good for humanity. They influence thoughts about political currents and conditions. They can, for instance, lead the reader to critical reflections on the type of leaders suitable for a given society and on the degree of civic consciousness exercised by the people in protecting their rights. Philosophy and literature, equally, offer critical evaluation of existing and possible forms of political arrangements, beliefs and practices. In addition, they provide insights into political concepts and justification for normative judgements about politics and society. They also create awareness of possibilities for change (Okolo 2007, 1). Compared to Ọlátúnjí’s exploratory unraveling of Fálétí’s poetry, my objective is to enlist Fálétí as a poet that has not been given his due as one who is sensitive to the requirements of political philosophy and its objective of ensuring the imagination of a society that is properly ordered according to the imperatives of justice.
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"Yoruba drama in English: interpretation and production." Choice Reviews Online 27, no. 07 (March 1, 1990): 27–3715. http://dx.doi.org/10.5860/choice.27-3715.
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A, Olateju Moji. "A Multimodal Discourse Analysis of a Yoruba Song-drama." Journal of Education and Training Studies 3, no. 5 (July 6, 2015). http://dx.doi.org/10.11114/jets.v3i5.933.
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"A Study of the Yoruba Traditional Marriage as a Rite of Passage." International Journal of African Society, Cultures and Traditions 10, no. 1 (March 15, 2022): 40–52. http://dx.doi.org/10.37745/ijasct.2014/vol10no1pp.40-52.
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This study observes marriage as a rite of passage and identifies the symbolic communicative elements deployed in the Yoruba traditional marriage processes to ease the transition of a bride from one status to another. It particularly examines the signification of its linguistic elements as transition vehicle that convey the bride through the pre liminal, liminal and post liminal stages of her rite of passage. The study adopts qualitative research technique to critically analyse and interpret the linguistic (lexical/verbal words, phrases, and sentences) and non-linguistics (non-verbal pictorials, facial expressions, emotions) elements in the music drama deployed as semiotics resources in this work from the social and cultural semiotics perspectives. The study concludes that the identified linguistic and non-linguistic elements of the drama music used as data in this work are the Yoruba semiotics resources, which their imports give physical and psychological strength to a bride, in the marriage’s rite of passage.
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Akinola, Ogungbemi Christopher. "Dramatists and Poets as Agents of Yoruba Culture: A Study of Hubert Ogunde’s and Femi Abodunrin’s Works." Imbizo 12, no. 2 (November 26, 2021). http://dx.doi.org/10.25159/2663-6565/7851.
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In many ways, people reveal their language, culture, identity, traditions and beliefs through the contents and themes of their performance arts, in addition to other identity moulding and retaining paraphernalia. However, for failing to fit into the mould of the West, the culture and traditions of peoples of African descent have been erroneously misunderstood and, in some cases, even scorned. Beyond the aesthetics and the utilisation of Africa’s oral traditions in passing down African histories and ways of life to current and future generations, the Yoruba artist’s utilisation of performative art forms such as drama and poetry to first, reassure the Yoruba themselves and then, educate the world about Africa’s cultures has become necessary. This article is an exploration of the narratives and nuances in the works of Hubert Ogunde and Femi Abodunrin as tools in the propagation of a Yoruba cultural outlook. It further takes a closer look into how the works of these writers could influence new narratives about Yoruba creativity as cultural agency from Africa’s own perspective. The study reveals the relevance of the artistic, performative and literary works of Ogunde and Abodunrin as agencies of propagation of Yoruba culture in the twenty-first century.
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Vermeulen, Julien. "Wole Soyinka. The Profile of a Nobel Prize Winner." Afrika Focus 3, no. 1-2 (March 28, 1987). http://dx.doi.org/10.21825/af.v3i1-2.6605.
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It is always difficult to define exactly why a particular author has been awarded the Nobel Prize for Literature. This approach will deal with four different aspects which may have contributed to Wole Soyinka's. award. It cannot be denied that Soyinka is the author of an extensive and richly varied work, which has been appreciated by critics the world over. Especially the satirical qualities of his style have been praised on many occasions. But we have to focus our attention on two other important aspects. We can only achieve a full understanding of Soyinka's dramas when we interpret them against the background of Yoruba drama and Yoruba cultural tradition. And we can only appreciate Soyinka's work if we pay attention to the social context in which it is situated. This political commitment, as well as the international reputation Soyinka has helped to create as a director and an actor, are essential elements that have contributed to this Nobel Prize award. KEYWORDS : African literature in English, Nobel Prize, Wole Soyinka
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Taiwo, Adekemi Agnes. "New Media, Old Artistry: The Adaptation of Yorùbá Folktale Narrative Strategies in Video Films." Afrika Focus 32, no. 1 (September 5, 2019). http://dx.doi.org/10.21825/af.v32i1.11783.
Full textAbstract:
The argument of this study is that Yorùbá people continue to keep alive and sustain their society’s oral folkloric tradition and verbal art despite the changes undergone by Yorùbá folktales that have passed into written form and other (new) media. Verbal arts educate, reflect and promote culture, as well as, their well-known capacity to instil moral decency in a young audience. This paper explores the adaptation of Yorùbá folkloric form in film. The audience memory is reawakened through the conservation and propagation of folktale into drama form in the film, Ijàpá and Àjàntálá. Ìjàpá (tortoise) is well known for its trickish behaviour and nature while Àjàntálá is also known for his vicious behaviour. Their character was worn into human beings (artiste) to teach society moral lessons. These Yorùbá movies Ìjàpá and Àjàntálá were adapted from Yorùbá folktales to examine issues and themes that are germane to contemporary society. Ìjàpá was produced in 2011 while Àjàntálá was produced in 2015. The theory of intertextuality which is the way books, songs, films are linked or associated to one another is adopted for the research.
KEYWORDS: YORÙBÁ ORAL FOLKTALE, ADAPTATION, INTERTEXTUALITY, FILM