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Journal articles on the topic 'Yoruba poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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1

Oyewale, Ayodele Solomon. "Yorùbá Ethics of Interpersonal Relations in Ọbasá’s Poetry." Yoruba Studies Review 5, no. 1 (2021): 1–15. http://dx.doi.org/10.32473/ysr.v5i1.130064.

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In the context of Yorùba interrelation, every human being is involved with ́ a clearly defined tradition laced with mutual benefits. The custom of human interpersonal relationship and the challenges thereof are critical issues in modern Yorùbá society. The themes of Yorùbá ethics as related to interpersonal relation are prominent in Obasa ̣’s poetry. In this essay, we identify and ́ analyze the ethical themes in Obasa ̣’s poetry and compare the poet’s engagement with the Yorùbá philosophy with a view to establish their relevance to the contemporary Yorùbá society.
 Wolfgang Iser’
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2

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

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Obasá’s creativity cuts across virtually all aspects of Yorùbá socio-cultural ̣ settings and his works have attracted the attention of various scholars. It is evident that his poems are laden with topical issues that are of national interest. Most of his works, as described by previous scholars, are based on his love for and interest in Yorùbá language, social values, language, style, cultural practices, and the recovery endangered Yoruba oral art (Babalolá 1971, ̣ 1973; Olábimtán 1974a, 1974b; Ògúnsínà 1980; O ̣ látúnji 1982; Akínye ̣ mí 1987, ̣ 1991, 2017; and Nnodim 2006). Tis essay focuses
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Adejumo, Arinpe. "Didacticism and Philosophical Tenets in Ọbasa’s Poetry". Yoruba Studies Review 5, № 1 (2021): 1–24. http://dx.doi.org/10.32473/ysr.v5i1.130058.

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Projection and promotion of Yoruba cultural ideology and philosophy are motifs in D.A. Ọbasa’s poetry. As an ingenious poet, Obasa adroitly blends the tropes of didacticism and philosophical tenets in his poetry. Existing works on his poetry have explored the thematic preoccupations of his poems, as well as their forms and stylistic features. However, little attention has been paid to the correlation between didacticism and philosophy in his poetry. Tis essay, therefore, identifies the basic tenets of philosophy in the form of ethical, metaphysical, and epistemological aspects of Yoruba philos
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4

Gonzalez, Patricia Elena. "Yoruba Vestiges in Nancy Morejon's Poetry." Callaloo 28, no. 4 (2005): 952–66. http://dx.doi.org/10.1353/cal.2006.0013.

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5

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 (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 t
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6

Akingbe, Niyi. "MYTHOLOGIZING YORUBA ORATURE: LOBOTO MIZING SWIVELLED PULSES OF LAUGHTER IN NIYI OSUNDARE’S WAITING LAUGHTERS AND REMI RAJI’S A HARVEST OF LAUGHTERS." Imbizo 6, no. 2 (2017): 22–42. http://dx.doi.org/10.25159/2078-9785/2803.

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Every literary work emerges from the particular alternatives of its time. This is ostensibly reflected in the attempted innovative renderings of these alternatives in the poetry of contemporary Nigerian poets of Yoruba extraction. Discernible in the poetry of Niyi Osundare and Remi Raji is the shaping and ordering of the linguistic appurtenances of the Yoruba orature, which themselves are sublimely rooted in the proverbial, chants, anecdotes, songs and praises derived from the Yoruba oral poetry of Ijala, Orin Agbe, Ese Ifa, Rara, folklore as well as from other elements of oral performance. Th
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7

Afọlabi Ọlabimtan (deceased). "Language and Style in Ọbasa’s Poetry." Yoruba Studies Review 5, no. 1 (2021): 1–22. http://dx.doi.org/10.32473/ysr.v5i1.130073.

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Denrele Adetimkan Obasa (1878-1948) was a great Yoruba poet in his own ́ right. It was he who provided ‘the link between traditional beliefs and writing in the modern vein.’2 The three volumes of Yorùbá poetry produced by him between 1927 and 1945 had a great impact not only on the adults who were impressed by the wealth of traditional sayings in his poems, but also on the school children who were made to learn some of the poems by heart.3 In this paper I intend to answer the question: In what does Obasa’s greatness as ̣ a poet consist? In the Ìjúbà (prologue) to Iwe ̀ ́ Kinni ́ ́ Awo ̀ n
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8

Okunoye, Oyeniyi. "LANREWAJU ADEPỌJU AND THE MAKING OF MODERN YORUBA POETRY". Africa 81, № 2 (2011): 175–203. http://dx.doi.org/10.1017/s0001972011000192.

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ABSTRACTThis essay presents Lanrewaju Adepọju, whose work and ideas have been very influential on contemporary Yoruba poetry, as a local intellectual. In estimating his contribution to modernising ewì, an open poetic form that inhabits the interface between the oral and the written, the essay draws on biographical information, an extensive personal interview and relevant textual illustration. It correlates Adepọju's vision of poetry with the development of his creative consciousness and draws attention to aspects of his poetics and politically implicated poetry that deserve closer engagement.
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9

Omobowale, Ayokunle Olumuyiwa, Mofeyisara Oluwatoyin Omobowale, and Olugbenga Samuel Falase. "The context of children in Yoruba popular culture." Global Studies of Childhood 9, no. 1 (2018): 18–28. http://dx.doi.org/10.1177/2043610618815381.

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The Yoruba of Southwestern Nigeria describes children as the heritage of the society because children occupy a special place in societal survival and continuity. Children are esteemed and appreciated. Thus, the embedded culture propagates the essentiality of children, the need for proper socialisation and internalisation to make a responsible being ( Omoluabi). Also, children are prioritised above material wealth, and the essentiality of child wellbeing and education is emphasised in aspects of popular culture such as oral poetry, proverbs, local songs and popular music among others. Using ext
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10

Sarumi, Kahar Wahab. "Nationalism in Modern Arabic Poetry of Yoruba Authorship." International Journal of Literary Humanities 15, no. 3 (2017): 21–33. http://dx.doi.org/10.18848/2327-7912/cgp/v15i03/21-33.

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11

Apter, Andrew. "Yoruba Ethnogenesis from Within." Comparative Studies in Society and History 55, no. 2 (2013): 356–87. http://dx.doi.org/10.1017/s0010417513000066.

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AbstractIt is an anthropological truism that ethnic identity is “other”-oriented, such that who we are rests on who we are not. Within this vein, the development of Yoruba identity in the late nineteenth century is attributed to Fulani perspectives on their Oyo neighbors, Christian missionaries and the politics of conversion, as well as Yoruba descendants in diaspora reconnecting with their West African homeland. In this essay, my aim is to both complement and destabilize these externalist perspectives by focusing on Yoruba concepts of “home” and “house” (ilé), relating residence, genealogy an
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12

Babarinde, Olusanmi, and Elizabeth Babarinde. "Themes, Diction, and Prosodic Systems in Yoruba Lullabies." International Research in Children's Literature 12, no. 1 (2019): 18–33. http://dx.doi.org/10.3366/ircl.2019.0288.

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Lullabies are essentially sung for their soothing nature but, as this article shows, they have other important functions. One of the most important of these is that lullabies may provide much-needed language stimulation with important long-term consequences for future learning. This paper begins the work of addressing the dearth of scholarly research on lullabies, especially in the Yoruba (Nigeria: Niger-Congo) culture. It looks at the range of themes, dictions, and prosody that are intertwined to reveal Yoruba beliefs and world-views about children, starting with their time in the womb. The s
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13

Nnodim, Rita. "Configuring Audiences in Yoruba Novels, Print and Media Poetry." Research in African Literatures 37, no. 3 (2006): 154–75. http://dx.doi.org/10.1353/ral.2006.0072.

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14

Daniel, Abiodun Oluwafemi. "Portrayal of Social Vices in Obasa’s Poetry." Yoruba Studies Review 5, no. 1 (2021): 1–13. http://dx.doi.org/10.32473/ysr.v5i1.130062.

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Tis essay examines sub-themes of social vices like wickedness, disobedience, stubbornness, jealousy, deception, greed, laziness, corruption, treachery, foolishness and ignorance, extremism etc. in Obasa’s poetry. ́ The study shows that Obasa ̩ was a renowned and seasoned poet who used poetic language as a ́ tool to convey Yoruba perspectives and philosophy to his readers. The study further shows that Obasa’s poetry series are ever relevant as they address current issues on human relations, socio-cultural, and socio-economic situations of the present-day Nigeria. Tis work concludes that Obasa ̩
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15

Akinyẹmi, Akintunde. "D. A. Ọbasa (1879–1945): a Yoruba poet, culture activist and local intellectual in colonial Nigeria". Africa 87, № 1 (2017): 1–15. http://dx.doi.org/10.1017/s0001972016000668.

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AbstractThis article examines the works of one of the earliest Yoruba poets, Denrele Adetimikan Ọbasa (1879–1945), a member of the local intelligentsia in colonial Nigeria. In my assessment of the poet as a culture activist and local intellectual, I draw on biographical information, extensive archival research and relevant textual illustration. The central argument of the article is that Ọbasa exploits Yoruba communal oral resources for ideas, themes and other linguistic influences in his poetry. Therefore, the essay explores the creative ability of Ọbasa to preserve different forms of oral li
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16

Zapata-Calle, Ana. "El discurso desincretizador y womanista de Georgina Herrera: hacia una descolonización de la espiritualidad de la mujer negra cubana." Cuestiones de género: de la igualdad y la diferencia, no. 12 (June 24, 2017): 79. http://dx.doi.org/10.18002/cg.v0i12.3869.

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<p><strong>Resumen</strong></p><p>El propósito de este artículo es usar la poesía de Georgina Herrera para deconstruir la tradición de la santería que considera la religión yoruba como una ramificación del catolicismo y no como una religión universal. Georgina Herrera refleja en sus poemarios <em>África</em> (2006) y <em>Gatos y liebres o libro de las conciliaciones</em> (2010) el nuevo discurso afro-cubano que apuesta por una heterogeneidad religiosa que emerge en Cuba a finales de los años ochenta. Además, la poeta aboga en su poesía por
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17

Oludare, Olupemi. "Street language in Dùndún Drum Language." African Music : Journal of the International Library of African Music 11, no. 3 (2022): 33–54. http://dx.doi.org/10.21504/amj.v12i1.2429.

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Dùndún drum language is a practice of speech surrogacy employed by dùndún drummers in Yoruba culture. The dùndún drummers play sequences of melo-rhythmic patterns; a form of communication that employs musical and linguistic elements, comprehensible to listeners knowledgeable in the Yoruba language. Although these sequenced patterns are sourced from Yoruba everyday sentences and oral genres (proverbs, poetry, praise-chants, and idiomatic phrases), the drummers also embrace other social narratives. These include the popular linguistic expressions in public spaces referred to as “street language.
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18

Olusola, Kayode. "The Concepts and Contextualization of Incantations in Nigerian Popular Music: Juju Music as Paradigm." Yoruba Studies Review 8, no. 1 (2023): 147–62. http://dx.doi.org/10.32473/ysr.8.1.134091.

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The Yoruba people like any other African tribe are enriched with magical and other traditional spiritual powers that are capable of invoking spirits and deities. These powers actualized with incantation as one of the Yoruba oral literature, to achieve a particular spiritual purpose. This paper discusses the concepts and contextualization of incantations by some Nigerian Juju musicians as part of their music in order to highlight various types and their socio-religious roles. Data is collected through primary and secondary sources, and this paper relies on culture change and role theories in mu
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19

Ibikunle, Tolulope. "Serialization of Ọbasa’s Poems in The Yorùbá News". Yoruba Studies Review 5, № 1 (2021): 1–15. http://dx.doi.org/10.32473/ysr.v5i1.130068.

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Every newspaper has its form, structure, and pattern. The Yorùbá News published between 1924-1945 was not an exception, as it comprised of different contents ranging from the editorial opinion to home news, gossip, adverts, and serialization of different forms of narratives. D.A. Ọbasa, the publisher ́ of The Yorùbá News, also published many works of poetry. Ọbasa started the publication of excerpts of his poems in The Yoruba News under the column “Àwọn Akéwì.” Serializing these poems, therefore, means issuing them regularly and consecutively in diferent editions of the newspaper. In the vario
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20

Akinyemi, Akintunde. "Positive Expression of Negative Attributes: An Aspect of Yoruba Court Poetry." Research in African Literatures 35, no. 3 (2004): 93–111. http://dx.doi.org/10.1353/ral.2004.0054.

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21

Euba, Akin. "Yoruba Royal Poetry: A Socio-Historical Exposition and Annotated Translation (review)." Research in African Literatures 37, no. 2 (2006): 194–95. http://dx.doi.org/10.1353/ral.2006.0044.

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22

Afolayan, Kayode, and INYANG Utitofon Ebong. "Of Divination Tray and the Search for Utopia: A Postcolonial Reading of Okinba Launko’s Selected Poems." KENTE - Cape Coast Journal of Literature and the Arts 3, no. 1 (2022): 59–74. http://dx.doi.org/10.47963/jla.v3i1.222.

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Primordial oral literary forms have always been very central to the evolution of modern African literature. Arguably, these forms have impacted on modern African poetry, not only on account of their recurrence in the works of poets, but also as important indices in current poetry studies and criticism. Contemporary African poets have since stretched the limits and aesthetics of these forms to emphasize their relevance in the postcolonial space, following after the Negritude poets who set the antecedent in the use of Africa’s primordial forms,. This paper, using selected poems from Okinba Launk
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23

Abdullahi, Kadir Ayinde. "Poetic Style and Social Commitment in Niyi Osundare’s Songs of the Marketplace." Human and Social Studies 6, no. 2 (2017): 73–83. http://dx.doi.org/10.1515/hssr-2017-0015.

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Abstract This essay studies some of the poetic devices employed by Osundare to project social commitment and vision in Songs of the Marketplace. It examines how the poet’s deployment of style makes his poetry more accessible to a larger audience than that of his predecessors. Like the oral traditional performance, his poetry employs rich Yoruba oral literary devices in a way that is unique and glaringly innovative. Osundare’s radical poetic style has a clearly defined concept and role. It is also central to the resolution of the polemics of governance and politics in society. The pervasive the
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Faleye, Adeola Adijat. "Gendered Species of Yoruba Plants: An Ecofeminist Perspective." Yoruba Studies Review 8, no. 1 (2023): 67–86. http://dx.doi.org/10.32473/ysr.8.1.134087.

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The phenomena of female and male collaboration or concurrence towards making a positive and progressive impact in most environmental situations in Yorùbá land cannot be over-emphasized. From published works of Yorùbá literature and other oral data, such as in poetry texts, findings show extant research on many herbs [plants]. Such findings show that there exists a dichotomy between the gendered species of plants. In addition, evidence reveals that within the Yorùbá belief system, some cultural practices are evident in support of the ecofeminist thought spanning various contexts in politics, wa
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Olubunmi Smith, Pamela J. "Making Words Sing and Dance: Sense, Style and Sound in Yoruba Prose Translation." Meta 46, no. 4 (2002): 744–51. http://dx.doi.org/10.7202/004197ar.

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Abstract Ordinarily in prose translation, rhythm is usually not a matter of great concern for the translator. Unlike poetry, with its comparatively rigid form, prose, by its very nature, permits a free form fluidity, giving the translator a certain kind of carte blanche “prosaic” license. However, in language-driven texts, as is the case in the novels of Yoruba creative writer D.O. Fagunwa, the translator has to be ever mindful of the author's purposeful inter-linking of the aesthetic value of sound to the cognitive meaning of the text.
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Olu-Osayomi, Olusegun i. "Yoruba Festival and the Dramatist: Satire as Spine in Soyinka’s A Dance of the Forests." Yoruba Studies Review 7, no. 2 (2023): 1–16. http://dx.doi.org/10.32473/ysr.7.2.132802.

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In most African societies, festivals play especially important roles linked to the survival of the society. This paper investigates the festival motif in Wole Soyinka’s A Dance of the Forests with the purpose of illuminating further his exploration of elements of indigenous African (Yoruba) lore. The paper contends that the satiric mode explored trenchantly in Soyinka's play's organizing and structuring principles. The paper posits that satiric mode is the fundamental backbone of his work, not just a decoration. The paper explains further that the festival's motif and cultural celebration buil
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OYETIMI, Kehinde Olawale. "ORAL DISTILLATES AND POSTCOLONIAL TEMPER IN ADEMOLA DASYLVA’S SONGS OF ODAMOLUGBE." International Journal of Education Humanities and Social Science 05, no. 03 (2022): 329–47. http://dx.doi.org/10.54922/ijehss.2022.0408.

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This paper engages the self-validating domain of orality as a valuable and potent field in the depiction of postcolonial Africa, in particular Nigeria. The paper accounts for orality as the authentic core of the mode of self-assertion, continued self-existence and the consistent (re)validation of how traditional societies structured their worldviews and cultural aesthetics. It argues that African writers still utilise the aesthetic provisions that their oral backcloth and oral past provide in the identification, (re)appraisal and the representation of the postcolonial situation in Africa. Enga
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Onyejizu, Raphael Chukwuemeka, and Uchenna Frances Obi. "Ideological Commitment in Modern African Poetry: Redefining Cultural Aesthetics in Selected Poems of Niyi Osundare’s The Eye of the Earth and Village Voice." Journal of Language and Literature 20, no. 2 (2020): 332. http://dx.doi.org/10.24071/joll.v20i2.2579.

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<p>In this study, ideological commitment to cultural norms is a standpoint that has led to the development of modern African poetry. The Modern African poet is seen as an advocate for cultural prowess and transformation and as such naturally adopts this African traditional antecedent in his poems. Several critical studies on the two collections have focused on the stylistic and literary values of Osundare’s craft without appropriate reviews on the poet's use of cultural forms to reflect his ideological stance on pertinent issues affecting the society. The descriptive qualitative content
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29

Ibraheem, Lateef Onireti. "AL-ILTIZAM AL-ISLAMI FI ASY-SYI‘R AL-‘ARABI FI BILAD YORBA NIGERIA الالتزام الإسلامي في الشعر العربي في بلاد يوربا، نيجيريا". EL HARAKAH (TERAKREDITASI) 20, № 2 (2018): 285. http://dx.doi.org/10.18860/el.v20i2.5248.

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<p>الالتزام قضية مهمة في مذهب الأدب الإسلامي، الأدب الذي يصوّر الخالق والكون والإنسان وفقا لتعاليم الإسلام وقيمه. فالأدب العربي في نيجيريا بصفة عامة وفي بلاد يوربا بصفة خاصة يجب أن يتصف بهذه الصفات، ولذلك درس هذا البحث أعمال شعراء بلاد يوربا، نيجيريا، من حيث الالتزام الإسلامي. توصل البحث إلى أن أكثر الشعراء اليورباويين التزموا بالإسلام تعاليمه وقيمه ومنهجه في أعمالهم الأدبية إلا أن بعضهم تجاوزوا حد الالتزام بالمبالغة والإفراط في المحبة وعدم الصدق في العاطفة وتجريح حق الغير وإيراد التشبيه بالمحرمات. إلا أن ذلك لم يبلغ مبلغا يخرجهم من حوزة الإسلام، ولا أدبهم من الأدب الإسلامي، بل جعلهم أدب
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Fleck, Jonathan. "Translation, Race, and Ideology in Oriki Orixá." Journal of World Literature 1, no. 3 (2016): 342–56. http://dx.doi.org/10.1163/24056480-00103004.

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In the midst of an influential career writing on Brazilian cultural production, the sociologist-turned-political marketer Antonio Risério publishes Oriki Orixá, a book of Portuguese re-translations of Yoruba oriki poetry (1996, reprinted 2013). Understanding translation as a partial and ideologically-motivated act of representation, the current article situates Oriki Orixá within an ideology of race in Brazil. I take into account textual and paratextual materials including the book’s introduction by Augusto de Campos; the editorial promotion of the work; its circulation within a literary netwo
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Bellei, Francesca. "The Nose at the Crossroads: An Intersectional Reading of the Pseudo-Vergilian Moretum." TAPA 154, no. 1 (2024): 213–50. http://dx.doi.org/10.1353/apa.2024.a925502.

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summary: This article provides a new interpretation of the anonymous poem Moretum as erotic satire. Mindful of Shelley Haley's invitation to read it through a Black feminist lens, this article turns to recent Black feminist scholarship on pornography to argue that the presence of sex does not automatically negate the agency of Scybale, the African woman described in the poem as Simulus's custos . Further, I review the evidence for Simulus's own identity. Through a combination of Audre Lorde's Black queer lens and Paul Preciado's trans scholarship on the dildo, I further argue that by imagining
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Abodunrin, Femi. "AFRICAN LITERATURE AND INDIGENOUS RELIGION: A STUDY OF WOLE SOYINKA’S DEATH AND THE KING’S HORSEMAN AND D.O. FAGUNWA’S ADIITU OLODUMARE." Imbizo 7, no. 2 (2017): 4–20. http://dx.doi.org/10.25159/2078-9785/1854.

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Religious bigotry pervades our world today. As the 21st century oscillates between what Ramin Jahanbegloo (2015) has described as the politicisation of religion and its accompanying ideologisation, this study examines the vast array of literary creativity and indigenous religion/knowledge from an ecocritical viewpoint. By indigenous, it is meant those systems of knowledge and production of knowledge that are sometimes perceived as antithetical to the Western empirical systems. Encapsulated in myths and mythical wisdom, these indigenous values have at the centre of their philosophical presuppos
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33

Ogundipe, Stephen Toyin. "The Transition from Yorùbá Metaphysics to Islamic Aesthetics in Ọláńrewájú Adépọ̀jù’s Poetry". Yoruba Studies Review 2, № 2 (2021): 1–23. http://dx.doi.org/10.32473/ysr.v2i2.129909.

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This paper explores the poetry of Ọlánrewájú Ade ́ ṕ ọ̀jù, a major contemporary Yorùbá poet, based in Ibadan, southwestern Nigeria. Much of the scholarship on the poet focuses purely on his sociopolitical interest, but the development of his craft has been largely ignored. This paper examines peculiar features of Adépọ̀jù’s poetry based on its fusion of Yorùbá cultural and Islamic religious values with the view to theoretically characterizing his practice. It draws on purposefully selected, recorded audio poetic compositions of Adeṕ ọ̀jù produced between 1974 and 2012 in order to yield a co
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Euba, Akin. "BOOK REVIEW:Akintunde Akinyemi. YORUBA ROYAL POETRY: A SOCIO-HISTORICAL EXPOSITION AND ANNOTATED TRANSLATION. Bayreuth African Studies 71. Bayreuth: Pia Thielmann and Eckhard Breitinger, 2004." Research in African Literatures 37, no. 2 (2006): 194–95. http://dx.doi.org/10.2979/ral.2006.37.2.194.

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Naumann, Michel. "Akinyemi (Akintunde), Yoruba Royal Poetry. A Socio-historical Exposition and Annotated Translation. Bayreuth : Bayreuth African Studies, BASS 71, 2004, VII, 406 p., bibl., index – ISBN 3-927510-84-X." Études littéraires africaines, no. 23 (2007): 72. http://dx.doi.org/10.7202/1035464ar.

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Adeleke, Duro. "Poetic Exploration of Obasa’s Prolegomenous Poetry." Yoruba Studies Review 5, no. 1 (2021): 1–43. http://dx.doi.org/10.32473/ysr.v5i1.130057.

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Mere mentioning of poetics often ignites the memory of Aristotle whose admiration is hinged on the elegance and clarity of his style in poetics. Tis is as a result of the historic influence of poetics or aesthetics as well as the quality of its thought. Tus, poetics is not devoid of philosophical nuances. Based on this premise, an attempt is made here to explore the poetic strands in Obasa’s trilogy, wherein Yorubá proverbs are strung together. The paper, therefore, considers aesthetic category of artistic mimesis, intertextuality and components of all diction alongside stylistic elements bec
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Odom, Glenn. "Before Us a Savage God: Self-Fashioning the Nation in Yorùbá Performance." TDR/The Drama Review 55, no. 2 (2011): 73–85. http://dx.doi.org/10.1162/dram_a_00071.

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The concept of identity is in a state of evolution in Yorùbá society, and this evolution works itself out in praise poetry. This poetry is performed in a variety of contexts, and each performance context contributes something distinctive to Yorùbá modernity.
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Sotunsa, Mobolanle Ebunoluwa. "Exploiting Resources of Yorùbá Drum Poetry for Contemporary Global Relevance." Matatu 40, no. 1 (2012): 401–10. http://dx.doi.org/10.1163/18757421-040001026.

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Yorùbá drum poetry has to date enjoyed an indigenous monopoly. However, its attributes as a unique cultural asset of Africans need to be further exploited for greater relevance to the sophistication and demands of the contemporary age. This essay contends that the resources of Yorùbá drum poetry are currently grossly under-utilized; it further asserts that for any art to thrive it must remain dynamic. Suggestions are therefore made concerning various current uses to which the valued resources of Yorùbá drum poetry can be put in order to achieve global relevance. Highlighted here are various me
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Garnier, Xavier. "BEIER Ulli (ed.) - Yoruba Poetry. Compiled and edited by Ulli Beier with Tini Laoye I, Bakare Gbadamosi, Duro Ladipo and Ademola Onibonokuta. Bayreuth, Bayreuth African Studies 62, 2002, 168 p., ill. - ISBN 3-927510-75-0." Études littéraires africaines, no. 16 (2003): 65. http://dx.doi.org/10.7202/1041573ar.

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Alága, Ìyábọ̀dé Baliquis, та Luqman Abísọ́lá Kíaríbẹ̀ẹ́. "Thematic Preoccupations of D. A. Ọbasá and Ṣóbọ̀ Aróbíodù on Religion and Colonialism". Yoruba Studies Review 5, № 1 (2021): 1–23. http://dx.doi.org/10.32473/ysr.v5i1.130065.

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The works of D.A. Ọbasá and Ṣóbọ̀ Aróbíodù, the two intelligensias of Yorùbá poetry, have been the focus of earlier scholarly works in Yorùbá, with little attention given to the comparative study of their poetry. Therefore, this essay is a comparative analysis of the two poets’ poems with particular reference to issues relating to religion and colonialism. Our findings reveal that Ṣóbọ̀ Aróbíodù usually comments on issues in a direct manner while Ọbasá comments both directly and indirectly on religious and colonial issues. Also, Ṣóbọ̀ Aróbíodù’s comments on religion are basically to commend Ch
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Hamzat, Saudat Adebisi Olayide, та Hezekiah Olufemi Adeosun. "The Yorùbá Social Values in Ọbasá’s Poetry". Yoruba Studies Review 5, № 1 (2021): 1–20. http://dx.doi.org/10.32473/ysr.v5i1.130059.

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Among the social values which equip the Yorùbá person are honesty, transparency, accountability, integrity, justice, fair-play, family sense, hard work, and truthfulness. The basic values of the people determine their behavior and what they direct their energy toward. Yorùbá social values have received serious attention from scholars. However, the ideology that inform the social values have not been given a deserved attention. The main aim of this essay is to investigate the Yorùbá social values in Ọbasá’s poetry texts – Àwọn Akéwì I-III (1924, 1934, and 1945). The objective of the study is to
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OKATAN, Halil İbrahim. "Lirik Şiir Anlayışı ve Nedim’in Bir Gazelinin Lirik Şiir Ölçütleriyle Açıklanması Ölçütleriyle Yorumu." International Journal of Social Sciences 8, no. 33 (2024): 586–616. http://dx.doi.org/10.52096/usbd.8.33.37.

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As is it well known, the arts of painting, music, sculpture and architecture are made with materials unique to them. Painting is applied with paint, music with sound, sculpture with materials such as stone, marble or bronze. The material of each is used only in that specific art. Poetry, on the other hand, is an art made with language, our common means of communication which we use every day and always in our daily lives. This situation leads to both convenience and difficulty for literature and especially for the art of poetry. Although architectural arts made of stone and marble survive for
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Bernard, Oluwabunmi Tope. "A Literary Interpretation of Blood Symbolism in Ifá Divination Poetry." Yoruba Studies Review 5, no. 1.2 (2021): 1–18. http://dx.doi.org/10.32473/ysr.v5i1.2.130082.

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Tis study undertakes a literary analysis of blood as a symbol as contained in the Ifá divination poetry among the Yorùbá of Southwestern Nigeria, which the researcher has collected through personal observations, consultations, and interviews with Ifá priests. Using Ricoeur’s hermeneutics theory of interpretation, the findings show that the selected Ifá divination poems present the symbolic interpretations of blood in Ifá corpus as it is entrenched in the Yorùbá psychology, sexuality, religiosity, worldview, identity and kinship. The paper presents that blood is multifaceted among the Yorùbá.
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Ogundeji, Adedotun. "The Exordium of Adébáyọ̀ Fálétí’s Poetry". Yoruba Studies Review 3, № 2 (2021): 1–10. http://dx.doi.org/10.32473/ysr.v3i2.129985.

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The background of Adébáyọ̀ Fálétí (1921 – 2017) was steeped in the Ọyọ̀ ́ Yorùbá culture. He had a princely connection to the throne of Ọyọ̀ ́ having been born by Dúrówadé Àyìnkẹ, a granddaughter of Prince Adé ́ ṣọ̀kàn, Bàbá Ìdódẹ, Aláàfin Àtìbà’s son, to Àkànbí Fálétí. Àkànbí Fálétí was a royal oral artist in the palace of Aláàfin Ṣiyanbọ́lá Oníkẹẹ̀ pé Ládìgbòlù (1911 – ́ 1944). He later practiced outside the palace, leading his own band, going about Ìlọrin and its environs and parts of Northern Yorùbáland. The late Pa David Adéníji of Ìwó, we reliably learnt, was one of his followers. Adébáy
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Purchas-Tulloch, Jean A. "The Yoruban—Cuban Aesthetic Nicolas Guillen's Poetic Expressions: A Paradigm." A Current Bibliography on African Affairs 18, no. 4 (1986): 301–7. http://dx.doi.org/10.1177/001132558601800403.

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Guillen's poetry is exemplary of a most vibrant, dynamic, and substantive aesthetic resulting from the Yoruban-Cuban encounter in the Americas. Early in his writings he tends towards a very tropical and exotic flair. As his work matures, however, he asserts his Africanité very strongly in the language he uses, the oral traditional elements interlaced in his poems, and his musical and religious allusions.
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Adejumo, Arinpe, та Adefemi Akinseloyin. "Intertextuality in Selected Narrative Poems of Adébáyọ̀ Fálétí". Yoruba Studies Review 3, № 2 (2021): 1–16. http://dx.doi.org/10.32473/ysr.v3i2.129986.

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The creative works of Adébáyọ Fálétí, a renowned literary writer in Yorùbá, ̀ have been the focus of literary critics. Notable among such are Olatunji (1982a; 1982b; 1982c), Ogunsina (1991), Ìṣọ̀lá (1998) and Adebowale (1999). These scholars have examined the issues of form, style and theme in Fálétí’s poetry. It has been established that Fálétí is a philosophical poet influenced by the historical, political, social and cultural contexts of the society that produced his poems. According to Olatunji (1982), “the oral poetic tradition of the Yorùbá constitutes the weft and woof of Fálétí’s poeti
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Ogundipe, Stephen T. "Hybridity in Yorùbá poetry of Ọlánrewájú Adépọ̀jù". African Studies 78, № 3 (2018): 423–37. http://dx.doi.org/10.1080/00020184.2018.1544273.

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Nnodim, Rita. "Yorùbá Neotraditional Media Poetry: A Poetics of Interface." Matatu 31-32, no. 1 (2005): 247–66. http://dx.doi.org/10.1163/18757421-031032018.

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Adeyemi, Lere. "Alàgbà Adébáyọ̀ Fálétí as a Yorùbá Novelist." Yoruba Studies Review 3, no. 2 (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
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Bolarinwa, Abidemi. "Recreation of Oral Poetic Genres in Selected Yorùbá Home-Video Films." Afrika Focus 32, no. 1 (2019): 13–34. http://dx.doi.org/10.1163/2031356x-03201003.

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The Yorùbá film as audio-visual literature is thought of as one of the most educative components building society. “Modernization” and responses to global change brought about the Yorùbá films which are an offshoot of the Yorùbá Travelling Theatre Movement. The indigenous theatre practitioners who are versatile in practicing the oral poetic genre and have successfully emerged as producers, directors and film-script writers employ and recreate oral poetic genres by adding feelings, beliefs and knowledge they had acquired in the past. This paper attempts a descriptive analysis of five purp
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