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Journal articles on the topic 'Yoruba Songs'
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1
Agnes, Aladesanmi Omobola. "Yorùbá Primary School Songs: Issues and Lessons for the Younger Generation." Theory and Practice in Language Studies 10, no. 3 (March 1, 2020): 284. http://dx.doi.org/10.17507/tpls.1003.03.
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Song is a worldwide phenomenon. It is a short metrical composition intended or adapted for singing, especially in rhymed stanzas. It can be a lyric or ballad. The usage of songs cannot be over emphasized among the people of Yoruba society. There are various ways in which the Yoruba make use of various songs and their society; such songs include festival songs, folktale, political songs, songs of mother of twins, satirical songs among others. In this paper, primary school Yoruba songs will be looked into. It is noted that there are songs that can be categorized as school children songs. These songs are sung during school hours like assembly time, break time, closing hour, and playtime among others. These songs are composed in a way to teach the school children morals, encourage them in their academics and to pass instructional lessons across to them. These songs have gone a long way in building the characters of the pupils.
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Sogunro, Bolanle O. "Phonological and Sociolinguistic Challenges of Translating Yorùbá Play, and Game Songs to Singable English for Children." Yoruba Studies Review 7, no. 1 (July 26, 2022): 1–14. http://dx.doi.org/10.32473/ysr.v7i1.131450.
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Observation of available translated Yoruba oral literature for children reveals that compared to Yoruba folktales translated to English and published in diverse formats, Yoruba play and game songs do not appear to enjoy the same attention or visibility in the available resources for children. The relatively few existing ones lack the Yoruba ‘flavor’ and socio-cultural nuances. Furthermore, those existing song translations rarely consider singableness and suitability in terms of the choice of segmental features, onomatopoeic cultural differences, and age-appropriate lexical items. Consequently, the translations are “unperformable” as oral texts, thus, failing their aesthetic and functional purpose for children. To investigate the translation problems involved and proffer solutions, this essay analyses five randomly selected Yoruba songs and seven of their available English translations from online sources and an unpublished manuscript, using sociolinguistic translation theory and the analytical framework of Franzon’s song translation choices.
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Schedtler, Susanne, Babatola Aloba, Eva Steinhauser, and Ursula Hemetek. "Kinderlieder der Yoruba. Yoruba Children's songs. Yoruba: Deutsch: Englisch." Lied und populäre Kultur / Song and Popular Culture 48 (2003): 271. http://dx.doi.org/10.2307/4147828.
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Akande, Sunday Olufemi. "FOLK SONGS AS CONTRIVANCE FOR PROMOTING YORUBA CULTURAL VALUES AND SOCIAL INTERACTION AMONG YORUBA CHILDREN." Ethnomusic 19, no. 1 (December 2023): 171–86. http://dx.doi.org/10.33398/2523-4846-2023-19-1-171-186.
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Music is share of culture and therefore establishes an integral part of the life of people. The inherent value of folk music cannot be challenged in promotion of cultural values and social interaction in a Yoruba child and in the making of a child as being resourceful, useful and a good citizen, living according to the societal norms and customs. This study employed the historical research method. The study identifies and provides musical notation of some selected Yoruba folk songs materials that can be interpreted musically and also examines the influence and efficacy of Yoruba folk songs in promoting cultural and moral values and social interaction among children. The lyrics of some selected folk songs were analysed. The findings revealed that folk songs establish a vibrant forum through which members of a society respond and acclimatize to the culture of the society and a veritable tool for social interaction. It therefore recommends that contemporary government and cultural institutions like traditional leaders, Obas (Kings) and chiefs should provide better funding and cultural support in order to ensure preservation of such cultural institutions and heritage. The media will also do so much through an incessant broadcast of folk songs.
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Oladipo, Olufunmilola Temitayo. "Song texts as instruments of communication in “Alaga Iduro” and “Alaga Ijokoo” musical performances during engagement ceremonies." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (April 15, 2020): 433–46. http://dx.doi.org/10.4314/ejotmas.v7i1-2.29.
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Alaga (Iduro and Ijokoo) are masters of Yoruba traditional marriage ceremonies. Through various musical performances, they conduct Yoruba traditional marriage ceremonies. The article notates and examines song texts as instruments of communication in Alaga (Iduro and Ijoko) musical performances. During traditional ceremonies may be integrated with events, either to set the mood for actions or to provide an outlet for expressing the feelings they generate. Masters of marriage ceremonies, through songs reveal various stages of nuptial performances. The article concludes by analyzing the import of the Alaga song texts to Yoruba marriage rites.
Keywords: Song texts, Instruments of communication, Musical performances, Engagement ceremonies, Alaga
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Adeleye, Adeyemo. "Sociological Examination of Selected Themes in Ayinla Omowura's Selected Songs." NIU Journal of Humanities 8, no. 4 (December 31, 2023): 231–38. http://dx.doi.org/10.58709/niujhu.v8i4.1748.
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Songs play important roles and are part and parcel of life in all African (Yoruba) societies. It may appear of the opinion that hardly do singers/musicians contribute anything positive towards the growth and development of the society, but the fact remains that there are no Yoruba traditions that do not communicate one important message or the other to the listener. Individual artists speak to the larger society through their songs, though their view of occurrences in the society may be different, their objectives are usually the same, either in shaping the society or to amend it. Based on the above, this paper seeks to examine and discuss sociological themes in Àyìnlá Ọmọwúrà’s songs (a Yoruba Apala musician). Selected sociological themes in his songs will be discussed and analyzed, to highlight the didactic messages the artist was trying to pass across to the society. Materials such as journals, books, google and so on that will add value to the work will be used. The theoretical framework adopted for the study is the sociology of literature. Late Ayinla Omowura did not fold his hands and the study concludes that he was also very concerned with what is going on in the society. Through his songs, he educated and corrected the ills in the society. Keywords: Sociological examination, themes, Ayinla Omowura’s songs.
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Apter, Andrew. "Discourse and its disclosures: Yoruba women and the sanctity of abuse." Africa 68, no. 1 (January 1998): 68–97. http://dx.doi.org/10.2307/1161148.
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If ritual songs of obscenity and abuse have become a familiar topic in Africanist ethnography since Evans-Pritchard's first discussion of their ‘canalising’ functions in 1929, few studies have paid sufficient attention to the socio-political and discursive contexts of the song texts themselves. The present article moves in that direction by relocating abusive songs of the Oroyeye festival in an Ekiti Yoruba town within the local forms of history and knowledge that motivate their interpretation and performative power. After reviewing the cult's historical interventions in local political affairs, the article examines the repressed historical memory of a displaced ruling dynasty and its associated line of civil chiefs as invoked by the song texts in two festival contexts. In the first—the Àjàkadì wrestling match—which occurs at night, male age mates from different ‘sides’ of the town fight to stand their ground and topple their opponents while young women praise the winners and abuse the losers with sexual obscenities. In the second festival context, during the day, the elder ‘grandmothers’ of Oroyeye target malefactors and scoundrels by highlighting their misdeeds against a discursive background of homage and praise. In this fashion the female custodians of a displaced ruling line bring repressed sexual and political sub-texts to bear on male power competition, lineage fission, and antisocial behaviour. More generally, they mobilise the fertility and witchcraft of all Yoruba women to disclose hidden crimes and speak out with impunity.
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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 (December 6, 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 extant elements of Yoruba popular culture which have remained dominant, this article contextually examines the value of children among the Yoruba.
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Lipenga, Timwa. "La Traduction et l’alternance de code linguistique dans la musique de Yemi Alade." International Journal of Francophone Studies 24, no. 3 (December 1, 2021): 221–40. http://dx.doi.org/10.1386/ijfs_00039_1.
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This article focuses on the links between translation and code-switching in selected songs by Yemi Alade. The songs under study were originally composed and interpreted in English before being translated into French. The original lyrics do not translate the instances where Yoruba and Igbo code-switching occurs, whereas the French versions frequently translate such instances. The article argues that these translations of code-switching serve to re-examine preconceived notions about a song and its translation. The argument demonstrates that it is possible for a song to ‘gain’ in translation, and this is illustrated by Alade’s translated songs. The article also focuses on the extent to which the Derridean perspective of the supplement and that of différance can be applied to music translation. The four songs ‘Johnny’, ‘K-I-S-S-I-N-G’, ‘Africa’ and ‘Ferrari’ have been chosen because they feature instances of code-switching. The article looks at the degree to which one can talk about loss during translation and the supplementary meanings of language in the four songs. finally, it reflects on the implications of linguistic choices for a musician in postcolonial Africa; ordinarily, African writers are the ones who are interrogated regarding language choice, but the question of language is one which confronts every form of art on the continent.
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Tola, Abubakar Mubaraq. "Language And Culture: Veritable Tools For National Development." Tasambo Journal of Language, Literature, and Culture 1, no. 1 (December 20, 2022): 243–51. http://dx.doi.org/10.36349/tjllc.2022.v01i01.027.
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The use of language depends on the level of effectiveness and efficiency with which it is developed and utilised to determine the development of any individual or society. Every society strives to use its language to preserve its culture, shape its thought and worldviews. The paper aims at identifying how Yoruba oral tradition can be deployed to reflect our cultural heritage, shape our thoughts and conceptual beliefs. Ten Yoruba proverbs and five songs were collected and analysed. Twenty elders from various communities in Oka-Akoko kingdom of Ondo State who are custodians of Yoruba culture were randomly sampled and interviewed. Findings revealed that indigenous language users are influenced by cultural values that help to change their moral reorientation and reduce the menace of social vices in our society and foster national development. The paper concludes that language and culture are veritable tools for national development, especially because of their effectiveness in shaping the speaker's moral values and thus, promoting societal traditional values.
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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 (June 21, 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. This engagement with the Yoruba oral tradition significantly permeates the poetics of Niyi Osundare’s Waiting laughters and Remi Raji’s A Harvest of Laughters. In these anthologies, both Osundare and Raji traverse the cliffs and valleys of the contemporary Nigerian milieu to distil the social changes rendered in the Yoruba proverbial, as well as its chants and verbal formulae, all of which mutate from momentary happiness into an enduring anomie grounded in seasonal variations in agricultural production, ruinous political turmoil, suspense and a harvest of unresolved, mysterious deaths. The article is primarily concerned with how the African oral tradition has been harnessed by Osundare and Raji to construct an avalanche of damning, peculiarly Nigerian, socio-political upheavals (which are essentially delineated by the signification of laughter/s) and display these in relation to the country’s variegated ecology.
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Presbey, Gail. "Sophie Olúwọlé's Major Contributions to African Philosophy." Hypatia 35, no. 2 (2020): 231–42. http://dx.doi.org/10.1017/hyp.2020.6.
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AbstractThis article provides an overview of the contributions to philosophy of Nigerian philosopher Sophie Bọ´sẹ`dé Olúwọlé (1935–2018). The first woman to earn a philosophy PhD in Nigeria, Olúwọlé headed the Department of Philosophy at the University of Lagos before retiring to found and run the Centre for African Culture and Development. She devoted her career to studying Yoruba philosophy, translating the ancient Yoruba Ifá canon, which embodies the teachings of Orunmila, a philosopher revered as an Óríṣá in the Ifá pantheon. Seeing his works as examples of secular reasoning and argument, she compared Orunmila's and Socrates' philosophies and methods and explored similarities and differences between African and European philosophies. A champion of African oral traditions, Olúwọlé argued that songs, proverbs, liturgies, and stories are important sources of African responses to perennial philosophical questions as well as to contemporary issues, including feminism. She argued that the complementarity that ran throughout Yoruba philosophy guaranteed women's rights and status, and preserved an important role for women, youths, and foreigners in politics.
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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. Engaging Ademola Dasylva’s Songs of Odamolugbe as primary text and data, the paper examines and explores features of Yoruba oral poetry and allied aggregates that the Yoruba traditional culture offers. This is clearly realized and apprehended in the crafting of the collection of poems and the overarching thematic foci and direction. These representations are captured within two extremes. Employing insights from postcolonial literary theory in its critique of the primary text, the paper situates the enervating frustrations, collapse of industry, economic inanities, atmosphere of fear, tensions, widespread underdevelopment, neocolonial excesses, prevalent hunger, deep-seated corruption and a general apathy to life and living as daily experienced in postcolonial Africa and Nigeria. As part of its finding, the paper attests that Dasylva’s Songs of Odamolugbe relishes a completed precolonial past where African communities maintained a communal cultural ownership of their existence and presided over their own affairs. It concludes that the poetry collection decries and rejects the morbid realities that characterize the postcolonial African experience.
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Ayeyemi, Ebenezer Oluwatoyin, and Olaoluwa Marvelous Ayokunmi. "Yoruba Folksong Philosophical Approach to Health Education: Curbing the Spread of COVID-19." SustainE 1, no. 1 (May 15, 2023): 94–121. http://dx.doi.org/10.55366/suse.v1i1.7.
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Throughout the world's history, there are cases of epidemics in nearly every country, state, and community at various times. During the dark ages in Africa, a number of diseases led to the premature deaths of young ones, adults, and even the elderly within clans and communities. Back then, people believed that outbreaks were caused by the wrathful gods of their communities, whereas it was the unsanitary living conditions and lack of hygiene that served as catalysts for these epidemics. Consequently, the people constantly remained at risk of incessant outbreaks. However, the Yorubas in Southwest Nigeria, among others, have a rich traditional culture that permeates their daily lives and surroundings. Music, as an integral part of their culture, accompanies all aspects of individual and communal existence. Education is deemed crucial for a good life and health. The Yoruba people have employed diverse methods to instil education in their growing citizens, dating back to the neo-colonial era. These methods include teaching folk songs, folk tales, poems, proverbs, and imitating societal values and norms.
The emergence of COVID-19 with its deadly implications has instilled fear worldwide. Everyone pondered preventive measures through education before considering treatment and cure. Preventing the virus spread became the responsibility of individuals and organizations all levels. This discussion examines the impact of an educational Yoruba folksong that promotes self-restraint to mitigate contact with this deadly disease and recommends their adoption at the local level of human habitation to enhance understanding and adaptation to disease prevention and control measures.
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Dada, Adekunle O. "Culture in Biblical Interpretation: The Use of Yoruba Cultural Elements in Adamo's African Cultural Hermeneutics." Old Testament Essays 34, no. 2 (November 18, 2021): 1–17. http://dx.doi.org/10.17159/2312-3621/2021/v34n2a7.
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African Cultural Hermeneutics is an approach in biblical interpretation that makes African socio-cultural context a subject of interpretation. This article shows how Adamo has deployed effectively Yoruba cultural elements in the development of this interpretative grid. This is done with a view to determining the extent to which he has engaged successfully the biblical text in a way that has translated to a better understanding of the Bible in Africa. A descriptive approach is adopted as the basic methodology for the article. Yoruba cultural archival resources such as traditions, songs, oracles, folklores and incantations (potent words) are appropriated to make the Bible come alive and relevant. For Adamo, these traditional resources have helped to elucidate the Bible and make its message meaningful for its average reader in Africa. Employing African cultural elements in the interpretative process should however be done with some measured caution.
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S.B., Aliyu. "Oral Tradition and African Environmentalism in Wasiu Abimbola’s Yoruba Movie, Ikoko Ebora." International Journal of Literature, Language and Linguistics 5, no. 2 (June 30, 2022): 26–34. http://dx.doi.org/10.52589/ijlll-dpgkpmlv.
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The oral tradition in African society has always served the purpose of transmitting the values of the African people across generations among other functions of entertaining and provoking critical thought. In the emerging global concern over environmental sustainability, understanding the perspective from which people view and interact with the environment around them would provide insights into the human-induced challenges facing it, and how these challenges can be overcome. This paper thus posited that the oral repertoires of African societies would provide insights into the people’s perspective of the environment around them. This paper, therefore, undertook an examination of the oral literary forms such as incantations, proverbs, myths, and songs in Wasiu Abimbola’s Yoruba film titled Ikoko Ebora for the deployment of environmental aesthetics which are peculiar to the Yoruba culture. The study concluded that the deployment of environmental agencies in oral literary forms reflects the African conception of the environment as a functional entity and a complementary agency for the use of man.
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Abdullahi, Kadir Ayinde. "Poetic Style and Social Commitment in Niyi Osundare’s Songs of the Marketplace." Human and Social Studies 6, no. 2 (June 1, 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 theme of the collections remains a serious concern for hope out of the decadent situation that has eaten deep into the fabric of our social existence.
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Afọlabi Ọlabimtan (deceased). "Language and Style in Ọbasa’s Poetry." Yoruba Studies Review 5, no. 1 (December 21, 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 Ake ̣ wi, he writes: ̀
O di odụ ́n mó ̣kànléló ̣gbò ̣n nísisiyi (AD 1896) ti mo ti be ́ ̀ ̣re si ̀ ś aạ ́yan kíko -̣́ jo ̣ àwon o ̣ ̀ ̣rò ̣ ogbo ̣ ́ ̣n àtaiyebáyé ti àwon baba n ̣ ́là wa, tí i máa hán jade nínú orin, ègè, rárà, ìjálà, ìpesạ ̀, àròfò ̣, oríkì, ìlù, fèrè àti àgbékà ò ̣ro ̣̀ won…̣ (Obasa 1927: i)
(For the past thirtyone years (1896-1927) I have been assembling Yorùbá traditional sayings which embody the wisdom of our fore-fathers. Tese sayings are found in songs and in various forms of Yorùbá poetry; egè, ̀ rará , i ̀ ̀jála, i ́ pè sạ , à rò ̀fo, ori ̣̀ ́ki, and in the language of the drum and the ̀ fute.)
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David, Janice Sandra, and V. Bhuvaneswari. "Interconnection of Nature and Yoruba Traditions in Okri’s Trilogies." Theory and Practice in Language Studies 12, no. 6 (June 1, 2022): 1220–24. http://dx.doi.org/10.17507/tpls.1206.23.
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Africa's history and ecology were shaped by colonization. The European invasion of eastern nations had a significant influence on the environment. The technical advancements due to colonization have been both beneficial and detrimental to the colonized countries. The harmful consequences have prompted several researchers and African writers to conduct a critical examination of the interaction between humans and their environment in terms of race, culture, economy, power, and belonging. Ben Okri is an internationally acclaimed poet, writer, artist, and public speaker. In his trilogies The Famished Road, Songs of Enchantment, and Infinite Riches Okri has depicted the repercussions of colonization and the process of decolonization on the individual and the environment in order to understand the African reality. This paper highlights the interconnection of nature and culture which is considered as one of the main tenets of African culture and tradition. Okri employs magical realism as a literary method to emphasize the interplay between the human and natural worlds. Okri has included vivid imagery of verdant forest that has been deforested and wounded. According to the Yoruba mythology, the forest is frequently associated with magic and the supernatural world, in keeping with West African customs. Therefore, the exploitation of the natural world has led to the abandonment of traditional values which is well depicted. Further, the paper attempts to examine the effect of colonialism in eroding the spirit world and the physical world in terms of social structure and the degrading culture and its relationship with the environment.
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Sarah, Balogun, and Murana Muniru Oladayo. "Code-Switching and Code Mixing in the Selected Tracks of the Hip Hop Music of Flavour and 9ice." International Journal of English and Comparative Literary Studies 2, no. 3 (April 22, 2021): 55–70. http://dx.doi.org/10.47631/ijecls.v2i3.255.
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This article attempts a comparative analysis of code-switching and code-mixing in the Nigerian music industry, using the lyrics of Flavour and 9ice as a case study. Although the English language is the national language in Nigeria and the language used by most of the musicians for the composition of their songs, and due to the linguistic plurality of Nigeria, most of these musicians tend to lace their songs chunks of words and phrases from their mother tongue or at least one of the three major languages in Nigeria, which are Hausa, Igbo, and Yoruba. The Markedness Model by Myers-Scotton (1993) is used as the framework to interrogate the switching and mixing in the codes used by these selected musicians and we find that while most code-switching is done in three languages – English, Nigerian Pidgin and the artist’ first language (mother tongue) – their mother tongue plays the prominent role. Code-switching or code-mixing in these songs, therefore, becomes a depiction of the Nigerian state with its diverse languages and it provides the links between the literates and the illiterates thereby giving the artiste the popularity desired. The study concludes that the unique identity created by code-switching and code-mixing in the Nigerian music industry has a positive influence on music lovers, helping artists to achieve wide patronage and reflecting the ethnolinguistic diversity of the Nigerian nation.
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Ismail Adaramola Abdul Azeez and Amidu Adinoyi Jimoh. "The Yoruba Muslims and the Credence in Reincarnation: An Orthodox Intrusion." International Journal of Integrative Sciences 2, no. 10 (October 30, 2023): 1491–500. http://dx.doi.org/10.55927/ijis.v2i10.5833.
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Everybody knows that death is the unescapable end of man. What waves the mind of many, consciously or otherwise, is the question of what happens to man when he breaths his last breath. While some are of the opinion that after death comes judgment; a determent of whether one goes to eternal blissful domains, or into everlasting tenant; depending on whether he had lived piously or otherwise, while on earth. Another school of thought opines that the soul of the dead will reincarnate by taking abode in a new physical body, born as a new baby and live another normal life, whereby he/she has the opportunity to correct his/her wrong actions in the previous incarnation. While some are of the opinion that when the soul has gathered wisdom, knowledge and understanding through several incarnations, it becomes one with the creator; others believe that reincarnation is a continuous process without neither beginning nor an ending. The Yoruba of South-Western Nigeria, like most other Africans, believes that humans reincarnate in order to re-choose their destiny and fulfill their life ambitions which they had no chance to achieve in a previous incarnation. An examination of some Yoruba traditional songs about death and what follows, show that they believe in 'a day of reckoning' and the continuum of the life cycle. Reincarnation, generally speaking, is always thought of, and discussed as a religious phenomenon, most probably because it borders on the super-natural; an issue to which only God; the creative force, has the totally correct answer
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Taiwo, Victor ‘Túnjí. "Translation services in Tunde Kelani’s film medium of ‘Thunderbolt-Mágùn’ production as evince of cultural credences." Journal of Languages, Linguistics and Literary Studies 2, no. 3 (September 23, 2022): 109–18. http://dx.doi.org/10.57040/jllls.v2i3.282.
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Translation refers to the process of rendering of words or text from one language to another as a means of communication that gives meaning to a linguistics discourse from source to target languages for comprehension. Film as a mode of communication is used by individuals to express their thoughts based on representations by creating the illusions through moving images. Hence, in projecting the culture of the people, translation becomes inevitable channel of communication for comprehension of cultural ideas from source to target languages. The paper aims to examine the culture of translation services in films in consonance with the considerable modes of translations: subtitling, simultaneous, documentary and source to target language translations. The study employed qualitative research that uses content analysis design with the use of textual, verbal content analysis in film. A video-film of Tunde Kelani with Yoruba cultural elements has been purposively selected for translation discourse and meanings: Thunderbolt-Mágùn. The study is hinged on Error Analysis theory as appropriately employed for cultural translation discourses. Findings revealed that wrongly used words in describing situations in the process of translation by subtitling, simultaneous type of translations are crucial aspect of filmic interactions. Also, the Yoruba cultural beliefs and traditions are significantly reflected in songs, and also serve as means of expressing the people’s emotions and opinions. These form important aspects of the filmic interactions through which the audience comprehend the messages.
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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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Owoaje, Tolulope, and Tunde Adegbola. "Song Melody and Speech Tone Conflict in Translated Yorùbá Christian Hymns." Yoruba Studies Review 7, no. 1 (July 26, 2022): 1–18. http://dx.doi.org/10.32473/ysr.v7i1.131447.
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This article engages song melody and speech tone conflict in translated Yorùbá Christian hymns between the late 19th and early 20th century. In their effort to make early Yorùbá Christian converts sing Christian hymns in the church, European missionaries translated English hymns to Yoruba, and sang them to the original European hymn tunes. Yorùbá being a tone language, requires a significant level of correlation between song melody and speech tone, for the words to retain their original meaning when sung. The tripartite constraint of aligning melody, meter, as well as meaning, posed a major problem to the hymn translators. Having given priority to melody and metre, the translators therefore, tend to compromise on meaning, thereby producing Yorùbá hymns that will sound interesting melodically, and correlate metrically with the metre, but producing hardly meaningful words when sung. This study utilized samples from Iwe Orin Mimo, being the Yorùbá translation of a range of hymns in Hymnal Companion, Hymns Ancient and Modern, and some other hymn books popularly used by the Church Missionary Society (CMS). The work presents a graphical illustration of the disparity between the hymn tunes and the speech tone of the Yorùbá language. It also highlights the efforts of Indigenous composers in correcting the perceived error through re-composition of the first stanza of selected hymns, to which they wrote more stanzas that align with the theme of the first stanza. The inappropriately translated Yorùbá hymn books have remained strong institutions within the church and have therefore, continued to promote the use of the translated hymns in the Yoruba church.
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Afolayan, Michael Oladejo. "“Welcome to the White Man’s World”: An English Translation of Isaac Oluwole Delano’s Historical Novel Aiyé D’Aiyé Òyìnbó." Yoruba Studies Review 4, no. 2 (December 21, 2021): 1–44. http://dx.doi.org/10.32473/ysr.v4i2.130043.
Full textAbstract:
Welcome to the White Man’s World
By Chief Isaac O. Delano
Author of Soul of Nigeria, An African Look at Marriage, One Church for Nigeria, Notes and Comments from Nigeria, The Singing Minister of Nigeria, Ìran Ọrun, Ìtàn Ogun Àdùb ̀ í, and Ìwé Atúmọ Yorùbá ̀ (Yoruba – Yoruba Dictionary) London: Tomas Nelson Ltd., 1953
Foreword
I appreciate the kind of love with which you, my readers, embraced my previous books, whether those I wrote in the English language or in Yoruba. For the record, one important thing I would like to say right here is that all names, be it of towns or of people, that are used in this book are totally fictional. We had no one in mind when this story was being written. The story is purely fictional but based on our various experiences in the Yoruba society.
Isaac O. Delano Bajiki Ake, Abeokuta London, 1953
Dedication
Tis book is dedicated to Ẹgbẹ́Ọmọ Odùduwà (Te Society of Sons and Daughters of Oduduwa), which is frantically engaged in working relentlessly towards the progress of the Yoruba society.
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BolanleTajudeen, Opoola. "Incantation as a Means of Communication in Yorùbá Land: ‘Eégún Aláré’ as a Case Study." International Journal of Comparative Literature and Translation Studies 7, no. 2 (April 30, 2019): 67. http://dx.doi.org/10.7575/aiac.ijclts.v.7n.2p.67.
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Yorùbá oral literature is of three categories namely chant, song and recitation. This paper, therefore, focused on incantation as a means of communication among the masquerades in Yorùbá land with its data drawn from “Eégún Aláré”, a Yorùbá novel. Incantation is a combination of carefully arranged speeches or words in a poetic form and its use makes things work miraculously as the users wish or words that make human wishes come to reality with immediate effect. Before Christianity and Islam gained prominence in the Yorùbá society, Alárìnjó masquerades were among the well known traditional public entertainers and that during performances, incantation was often used to know who is who among the masquerades. However, Christianity and Islam have made the use of incantation, as a means of communication during masquerade performances, a thing of the past and what used to be a family profession in the past is no longer so because members of the Ọ̀jẹ̀ families who were in charge of this cultural profession in the past have now been converted to either Christianity or Islam or have been negatively influenced by Western education. This study nullifies the communication chain as the person to whom incantation is directed does not need to understand the language of the person that uses the incantation as the feed back would be the effect of the incantation in positive or negative form. The essence of this paper is to promote Yoruba oral literature through formal documentation of incantation as a Yoruba linguistic verbal art.
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Olaleye, Olufemi Akanji. "Sociological background and emotional experiences in selected Yoruba traditional musical forms." Journal of the Association of Nigerian Musicologists 16, no. 1 (August 22, 2022): 89–103. http://dx.doi.org/10.4314/janm.v16i1.7.
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This study explores the distinguished characters and emotional experiences of selected traditional Yoruba musical forms and focuses on the sociological background and events which have contributed to the emotional experience of traditional Yoruba musical forms. Therefore, the paper clarified the relativity of evoking associations which determines the musical forms in the traditional music-making of the Yoruba people. Music is omnipresent and it is appreciated and respected within the traditional Yoruba society. The goal of this micro-sociological and ethnographical research in Yoruba music was to produce as detailed distinguished character description and emotional experience of the potential social impacts in the Yoruba music structures. The application of context analysis to investigate Yoruba traditional music is intended for a complete and an in-depth understanding of the music. The theoretical framework for this study is the Aristotle’s theory of art as an imitation of life. The study brought to fore the various circumstances, religious, ritual beliefs, environmental factors and cultures of Yoruba people as determinants of musical forms. In consequence, the following are the Yoruba musical forms; responsorial and recitative forms, General chorus form, incantation call and response form, round form, proverbial free form, free song form, nonsense syllable form and historical song form.
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Akinrinlola, Temidayo. "A Stylistic Analysis of Ṣeun Ògúnfìdítìmí’s Songs." Yoruba Studies Review 4, no. 1 (December 21, 2021): 1–26. http://dx.doi.org/10.32473/ysr.v4i1.130033.
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Ṣeun Ògúnfìdítìmí is a traditional Yorùbá artiste of Oǹdó extraction. She is a promising and prosperous female artiste, who explores the richness of African values in creating her lyrics. Her songs are rendered in Oǹdó dialect. Oǹdó, a dialect spoken by the Oǹdó people of Southwestern Nigeria, is a dialect of the Yorùbá language. There have been multiple studies on traditional African songs. Such studies have engaged traditional African songs mostly from the non-linguistic perspectives. Such studies have investigated the historical and philosophical values of Yorùbá songs. Studies on songs rendered in dialects of Yorùbá language are very scanty. Dearth of studies in this regard has prevented the propagation and documentation of dialects of Yorùbá language. This study examines the discourse stylistic import of the sociocultural values in Seun Ògúnfìdítìmí’s songs with the view to describing how contextual issues are negotiated in her songs. Recorded songs of Ògúnfìdítìmí constitute the data for the study. The audio compact discs of her songs were collected and played repeatedly. The songs were transcribed and translated into the English language. The translation process took the form of one-to[1]one translation in order to avoid distortion of meaning. The artiste resorts to the use of discourse analytical tools in creating her lyrics. The songs reflect political, social, cultural and religious ideals of the Yorùbá traditional African society. The contextual issues expressed in the songs include the importance attached to the child as success indicator, the significance of marriage, love, conspiracy and the place of detractors, corruption and embezzlement, 184 Temidayo Akinrinlola supremacy of God, social degeneration, gender inequality and the cyclical nature of life. Ṣeun Ògúnfìdítìmí is an advocate of social and cultural revival of traditional African values.
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Mabawonku, Oluwafunminiyi. "Proverbs in Yorùbá Contemporary Songs." Yoruba Studies Review 6, no. 2 (January 27, 2022): 1–20. http://dx.doi.org/10.32473/ysr.v6i2.130285.
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The Proverb is the wisdom of the wise; a terse statement of few words. Proverbs are allegorical as the expressed statement is meant to have by analogy or by extended reference, a general or specific connotation. This study serves as a discursive strategy in the knowledge of proverbial lore and language development as exemplified in the works of the two Yorùbá Contemporary song artists to be considered. This study attempts to explain how proverb usage in the hands of these two song artists serves as critical trajectories as it refracts and reforms the debased social constrictions that have engulfed society. Its usage by these song artists is wrapped up in the communal language to puncture the social constrictions and to x-ray the lived experiences of people in the society. This study reveals that the use of proverbs as indigenous tattoos has elevated both the language of the song artists to the status of living art of popular communication and their personalities to that of a mystic ‘massieur’ as there is the need to localize the global issues and globalized the local ones. Doing so would enhance and ensure continuity of the salient aspects of our culture especially the language, which now seems to have lost its potency and rhythm via the social constrictions.
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Ajíbádé, George Olúsolá. "A Sociocultural Appraisal of Yorùbá Kegites’ Songs." Yoruba Studies Review 5, no. 1.2 (December 21, 2021): 1–16. http://dx.doi.org/10.32473/ysr.v5i1.2.130083.
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This is a study of how the oral aesthetics of textual production by a group, the Kegites, are used in the construction of an identity rooted in a collective context that reflects a socio-political engagement with the complex social histories of the Yorùbá society and Nigeria at large. The study identifies common practices of the Kegites and themes of the texts of their songs. It shows the practice of engagement by the Kegites through which identity can be textually constructed in ways that politicize self-representation and challenge discourses grounded in the colonial and postcolonial histories of the Yorùbá people. Through the discussion of themes such as ancestral presence, the aesthetics of orature, and the political significance of group or society (ẹgbé) ̣ among the Yorùbá, the paper seeks to showcase the presence of a characteristic of Yorùbá oral literature in which personal, cultural, economic, social and political issues become inseparable. It demonstrates how oral text reflects societal elements and performers use various societal elements to create an expression of an identity within the multiple currents and traditions by taking the rules, creativity, and artistry of self-representation and shaping them with cultural content, as well as with the rhythms and speech patterns of the Yorùbá people.
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Ajibade, George Olusola. "A Hermeneutic Analysis of Selected Yorùbá Pentecostal Songs." Yoruba Studies Review 8, no. 2 (November 14, 2023): 1–24. http://dx.doi.org/10.32473/ysr.8.2.134888.
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The Christianity that reached Africa, especially the sub-Saharan region, had undergone several stages of inculturation and re-organization. The changing social, political, and cultural situation of the people had a tremendous impact on the Christian religion. As Christianity moved through the intellectual and political worlds, especially among the Yorùbá people of southwestern Nigeria, it acquired new categories of thought. Yorùbá philosophical language began to be applied in expressing some of the mysteries of the Christian faith. This was particularly evident in the articulation of the theological language expressed through various Christian songs. Different types of songs collected during the worship among the selected African Indigenous Churches and those produced by some artists were analyzed through the lens of textual exegesis. This paper considered the impact of the emerging trend of diffusion of African philosophy, worldviews, and Christian theology in the selected Christian songs. This in turn revealed the dynamism or the emerging trends in African Christianity that authenticate the pluricultural nature of contemporary world Christianity. The work demonstrated that Christianity is an essential part of the identity of the Yorùbá people, which is best demonstrated in the folkloric expressions, especially songs.
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Olusola, Kayode. "The Concepts and Contextualization of Incantations in Nigerian Popular Music: Juju Music as Paradigm." Yoruba Studies Review 8, no. 1 (May 6, 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 musicology as a fulcrum for discourse. The findings revealed that the incantation used in Juju music contains texts requesting spiritual protection, a defensive attack against the enemy, as well as for fame and financial success. Discovered that the incantation performed in spoken verse or song form as prescribed by the spiritualists consulted. This paper concludes that, apart from musicians’ creativity, the culture change witnessed in terms of the use of incantation in juju music in the 1970s, was because of the borrowed creativity influenced by different Yoruba traditional spiritual poetry. This paper, therefore, highlights and documents the phenomenon of incantation as a Yoruba linguistic verbal art in popular music in Nigeria.
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Omojola, Bode. "Òṣogbo: Power, Song and Performance in a Yoruba Festival." Ethnomusicology Forum 20, no. 1 (April 2011): 79–106. http://dx.doi.org/10.1080/17411912.2011.549360.
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Olawale, Hakeem. "Traditional Songs of Ìlọrin: Enacting Identities, History, and Cultural Memories." Yoruba Studies Review 5, no. 1.2 (December 21, 2021): 1–19. http://dx.doi.org/10.32473/ysr.v5i1.2.130120.
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Ìlọrin is a distinct community and a melting pot where people of diverse ethnic and cultural identities came together to form a settlement in the 17th century. These ethnic groups include Yorùbá, Haúsá, Fúlàní, Núpé, Kànnìké, Kéńbérí, Bàrùbá, and Malians¸ Arabs, among others. However, despite these ethnic and cultural diversities of Ìlọrin and the Fúlàní political hold on it, Yorùbá language is the lingua franca of the community. How these ethnic groups fnd their voices and articulate their historical and cultural identities within this unified framework becomes a source of concern. As a response to this concern, traditional songs of Ìlọrin like dàdàkúàdà, bàlúù, agbè, wákà, kèǹgbè, orin ọlọ́mọ-ọba Ìlọrin, among others sung in Yorùbá language become a site of contestation of ethnic and cultural identities. Te focus of this essay is to analyze Ìlọrin traditional songs as they portray and contest ethnic identities, reconstruct history, and revitalize cultural memories of indigenes. The paper argues that given such a diverse ethnic and cultural origins, performance of Ìlọrin traditional songs become a reminder of family histories, origins, political structure, hegemonic influences, myths, legends, Islamization of Ìlọrin, and a way of ensuring harmony and bridging generational gaps among the various groups in a state that is known as the “State of Harmony”.
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KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 71, no. 3-4 (January 1, 1997): 317–91. http://dx.doi.org/10.1163/13822373-90002612.
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-Leslie G. Desmangles, Joan Dayan, Haiti, history, and the Gods. Berkeley: University of California Press, 1995. xxiii + 339 pp.-Barry Chevannes, James T. Houk, Spirits, blood, and drums: The Orisha religion in Trinidad. Philadelphia: Temple University Press, 1995. xvi + 238 pp.-Barry Chevannes, Walter F. Pitts, Jr., Old ship of Zion: The Afro-Baptist ritual in the African Diaspora. New York: Oxford University Press, 1993. xvi + 199 pp.-Robert J. Stewart, Lewin L. Williams, Caribbean theology. New York: Peter Lang, 1994. xiii + 231 pp.-Robert J. Stewart, Barry Chevannes, Rastafari and other African-Caribbean worldviews. London: Macmillan, 1995. xxv + 282 pp.-Michael Aceto, Maureen Warner-Lewis, Yoruba songs of Trinidad. London: Karnak House, 1994. 158 pp.''Trinidad Yoruba: From mother tongue to memory. Tuscaloosa: University of Alabama Press, 1996. xviii + 279 pp.-Erika Bourguignon, Nicola H. Götz, Obeah - Hexerei in der Karibik - zwischen Macht und Ohnmacht. Frankfurt am Main: Peter Lang, 1995. 256 pp.-John Murphy, Hernando Calvo Ospina, Salsa! Havana heat: Bronx Beat. London: Latin America Bureau, 1995. viii + 151 pp.-Donald R. Hill, Stephen Stuempfle, The steelband movement: The forging of a national art in Trinidad and Tobago. Philadelphia: University of Pennsylvania Press, 1995. xx + 289 pp.-Hilary McD. Beckles, Jay R. Mandle ,Caribbean Hoops: The development of West Indian basketball. Langhorne PA: Gordon and Breach, 1994. ix + 121 pp., Joan D. Mandle (eds)-Edmund Burke, III, Lewis R. Gordon ,Fanon: A critical reader. Oxford: Blackwell, 1996. xxi + 344 pp., T. Denean Sharpley-Whiting, Renée T. White (eds)-Keith Alan Sprouse, Ikenna Dieke, The primordial image: African, Afro-American, and Caribbean Mythopoetic text. New York: Peter Lang, 1993. xiv + 434 pp.-Keith Alan Sprouse, Wimal Dissanayake ,Self and colonial desire: Travel writings of V.S. Naipaul. New York : Peter Lang, 1993. vii + 160 pp., Carmen Wickramagamage (eds)-Yannick Tarrieu, Moira Ferguson, Jamaica Kincaid: Where the land meets the body: Charlottesville: University Press of Virginia, 1994. xiii + 205 pp.-Neil L. Whitehead, Vera Lawrence Hyatt ,Race, discourse, and the origin of the Americas: A new world view. Washington DC: Smithsonian Institution Press, 1995. xiii + 302 pp., Rex Nettleford (eds)-Neil L. Whitehead, Patricia Seed, Ceremonies of possession in Europe's conquest of the new world, 1492-1640. Cambridge: Cambridge University Press, 1995. viii + 199 pp.-Livio Sansone, Michiel Baud ,Etnicidad como estrategia en America Latina y en el Caribe. Arij Ouweneel & Patricio Silva. Quito: Ediciones Abya-Yala, 1996. 214 pp., Kees Koonings, Gert Oostindie (eds)-D.C. Griffith, Linda Basch ,Nations unbound: Transnational projects, postcolonial predicaments, and deterritorialized nation-states. Langhorne PA: Gordon and Breach, 1994. vii + 344 pp., Nina Glick Schiller, Cristina Szanton Blanc (eds)-John Stiles, Richard D.E. Burton ,French and West Indian: Martinique, Guadeloupe and French Guiana today. Charlottesville: University Press of Virginia; London: Macmillan Caribbean, 1995. xii + 202 pp., Fred Réno (eds)-Frank F. Taylor, Dennis J. Gayle ,Tourism marketing and management in the Caribbean. New York: Routledge, 1993. xxvi + 270 pp., Jonathan N. Goodrich (eds)-Ivelaw L. Griffith, John La Guerre, Structural adjustment: Public policy and administration in the Caribbean. St. Augustine: School of continuing studies, University of the West Indies, 1994. vii + 258 pp.-Luis Martínez-Fernández, Kelvin A. Santiago-Valles, 'Subject People' and colonial discourses: Economic transformation and social disorder in Puerto Rico, 1898-1947. Albany: State University of New York Press, 1994. xiii + 304 pp.-Alicia Pousada, Bonnie Urciuoli, Exposing prejudice: Puerto Rican experiences of language, race, and class. Boulder: Westview Press, 1996. xiv + 222 pp.-David A.B. Murray, Ian Lumsden, Machos, Maricones, and Gays: Cuba and homosexuality. Philadelphia: Temple University Press, 1996. xxvii + 263 pp.-Robert Fatton, Jr., Georges A. Fauriol, Haitian frustrations: Dilemmas for U.S. policy. Washington DC: Center for strategic & international studies, 1995. xii + 236 pp.-Leni Ashmore Sorensen, David Barry Gaspar ,More than Chattel: Black women and slavery in the Americas. Bloomington: Indiana University Press, 1996. xi + 341 pp., Darlene Clark Hine (eds)-A. Lynn Bolles, Verene Shepherd ,Engendering history: Caribbean women in historical perspective. Kingston: Ian Randle; London: James Currey, 1995. xxii + 406 pp., Bridget Brereton, Barbara Bailey (eds)-Bridget Brereton, Mary Turner, From chattel slaves to wage slaves: The dynamics of labour bargaining in the Americas. Kingston: Ian Randle; Bloomington: Indiana University Press; London: James Currey, 1995. x + 310 pp.-Carl E. Swanson, Duncan Crewe, Yellow Jack and the worm: British Naval administration in the West Indies, 1739-1748. Liverpool: Liverpool University Press, 1993. x + 321 pp.-Jerome Egger, Wim Hoogbergen, Het Kamp van Broos en Kaliko: De geschiedenis van een Afro-Surinaamse familie. Amsterdam: Prometheus, 1996. 213 pp.-Ellen Klinkers, Lila Gobardhan-Rambocus ,De erfenis van de slavernij. Paramaribo: Anton de Kom Universiteit, 1995. 297 pp., Maurits S. Hassankhan, Jerry L. Egger (eds)-Kevin K. Birth, Sylvia Moodie-Kublalsingh, The Cocoa Panyols of Trinidad: An oral record. London & New York: British Academic Press, 1994. xiii + 242 pp.-David R. Watters, C.N. Dubelaar, The Petroglyphs of the Lesser Antilles, the Virgin Islands and Trinidad. Amsterdam: Foundation for scientific research in the Caribbean region, 1995. vii + 492 pp.-Suzannah England, Mitchell W. Marken, Pottery from Spanish shipwrecks, 1500-1800. Gainesville: University Press of Florida, 1994. xvi + 264 pp.
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Platonova, O. A. "Salsa and Santeria: to the Problem of Desacralization of a Ritual." Observatory of Culture, no. 3 (June 28, 2015): 52–58. http://dx.doi.org/10.25281/2072-3156-2015-0-3-52-58.
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Salsa and Santeria: to the Problem of Desacralization of a Ritual (by Olesia Platonova) is dedicated to the dialogue between a popular genre (salsa) and a religion (Santeria) in the context of desacralization of a ritual. Comparing salsa and other genres, like gospel, spiritual, Christian rock, the author notes a profound connection between a song and a personal spiritual experience of the musician, analyses some examples of the genre: subject symbolism, color symbolism, bilingualism of texts (the Spanish and Yoruba languages), music quotations of Santeria’s hymns.
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Bolarinwa, Abidemi. "Recreation of Oral Poetic Genres in Selected Yorùbá Home-Video Films." Afrika Focus 32, no. 1 (February 27, 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 purposively-selected Yorùbá video films by using the sociological approach: Ẹfúnsetán Aníwúrà; Basọ̀run Gáà, Ogun Àgbẹ́kọ̀ya, Ogun Ìdàhọ̀mì and Ọ̀rànmíyàn; which are replete with instances of ingenious recreations of Yorùbá oral poetic genres. The analysis is conducted with a view to elucidating the attempts of Yorùbá home-video scriptwriters in recreating and reconstructing their experiences. The analyses of the selected Yorùbá home-video films reveal that the Yorùbá home-video script writers make artistic use of Yorùbá oral genres in their films through the creative exploitation of proverbs, songs, chants and mythical allusions. The allusions to myths in the selected films suggest that Yorùbá home-video films share apparent inter-textual links with Yorùbá oral poetry. The study concludes that Yorùbá home-video scriptwriters deploy oral poetic genres in their films as one of the ways in which the artistic experiences of the Yorùbá people can resonate.
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Adepegba, Kehinde, and Tolulope O. Sobowale. "Art as Symbol of Power and Control among the Yorùbá." Yoruba Studies Review 6, no. 2 (January 27, 2022): 1–22. http://dx.doi.org/10.32473/ysr.v6i2.130289.
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The Yorùbá are popular for the peculiar art forms, which include woodcarving, textile design, metalwork, cloth weaving and embroidery, beadwork, costuming, pottery, architectural ornamentation, mural paintings, body beautification among others. The Yorùbá artists produce unique forms in these diverse areas of art. These forms often bear visual renditions of symbolism that are pregnant with socio-political meanings. This paper is, therefore, aimed at examining the symbolism of power and control among the Yorùbá found on some of the art forms. This is with the view of understanding the belief of the people about power and its control in the development of the Yorùbá nation. Photographic data for the paper were gathered from written literature and fieldwork. Formal and contextual methods were employed in the analysis of the data. In the course of analysis, oral traditions such as songs, proverbs, etc. were used. It was found out that the exercise of socio-political power in the Yorùbá society is a product of their belief system and philosophy as expressed in their art forms.
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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.
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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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Olusola, Kayode. "Towards Transformation of the Nigerian Youths: The Place of Yoruba Popular Music." Yoruba Studies Review 8, no. 2 (November 14, 2023): 135–47. http://dx.doi.org/10.32473/ysr.8.2.134896.
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Since the year 2012, West Africans, especially the Nigerian government and citizens have been witnessing an increase in civil crisis because of different crimes committed in African society and the involvement of the youths in these negative activities. Since music is said to have an emotional and psychological influence on human minds, this paper, therefore, examines the text content of and relevance of popular music in Nigerian society and highlights the role played by popular musicians as agents for positive transformation of the youths among the Southwestern part of Nigeria. Relying on Femi Adedeji’s Transformation musicological theory, this work explicates the song themes and other lyrical contents of selected popular music in the Yoruba language fashioned towards positive transformative direction, for the purpose of socio-cultural analysis. The research findings show that some Nigerian popular musicians have for over three decades, been making use of the message in their music to sustain the positive transformation of lives and behavior of people of Nigeria, especially the youths. The song lyrics by the old juju, fuji, apala, sakara, and Pop musicians are found to be more effective because of the Yoruba cultural concepts and moral values inherent in them. This essay concludes that music has an affective mechanism that positively influences the lives, personalities, and world-views of Nigerian youths in general if properly channeled towards a positive dimension. This paper concludes that the Nigerian government should use appropriate agencies like the National Film and Records Censor Board and Nigerian Copyright Council to prevent music that contains lyrics that can encourage violence and criminal acts circulated into Nigerian markets.
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Boluwaduro, Stephen Olabanji. "Negotiating Textuality and Aesthetic Tropes in Fújì Performance." Matatu 52, no. 2 (October 20, 2022): 313–36. http://dx.doi.org/10.1163/18757421-05202003.
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Abstract Fújì music, a Yorùbá popular art, has over the time been criticised as a local musical idiom devoid of any sophisticated aesthetic and functional values, and meant only for the illiterates. This study investigates the multiplicity of aesthetic performances in this Yorùbá art through close examination of a range of Fújì musical song texts in a bid to articulate Yorùbá socio-cultural realities. Engaging an aspect of Ackerman’s concept of hybridity, this study analyses selected works of two Nigerian Fújì musical artistes, Sikiru Ayinde Balogun (a.k.a. Barrister) and Rasaki Kolawole Ilori (a.k.a. Kollington Ayinla) who are representatives of the first generation of Fújì musical artistes. I argue that Fújì music possesses utilitarian relevance to Nigerian audiences as it is engaged in various ways to generate multiple meanings in linguistic, literary and musicological senses through syncretic complexities of postcolonial socio-cultural dialectical practices in Nigeria. The study concludes that Fújì song performance inherently possesses and articulates an array of social values and aesthetics.
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Adeosun, Hezekiah Olufemi. "Portrayal of Yorùbá Socio-cultural Heritage in the Practice of the Kegite Movement in Nigerian Tertiary Institutions." Yoruba Studies Review 5, no. 1.2 (December 21, 2021): 1–13. http://dx.doi.org/10.32473/ysr.v5i1.2.130084.
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This essay examines some aspects of the Yorùbá socio-cultural heritage portrayed in the practice of the Kegite Movement in Nigerian tertiary institutions. The Kegite is one of the student organizations in institutions of higher learning in Nigeria. Membership of the organization is open to only those who support the promotion and culture of palmwine drinking. Participant observation method of data collection which involved the researcher himself in the research setting was adopted. The paper relies on the socio-cultural theory for its analysis. Among the findings revealed in the study are that the Kegite Movement promotes aspects of the Yorùbá heritage which involved entrenching associations, teaching and enhancing morals through songs, method of selecting a king and his chiefs, use of language, and use of palmwine for entertainment purpose. Tis paper concludes that the Kegite Movement has been a virile organization towards the promotion of the Yorùbá socio-cultural heritage and in uniting the youth in Nigerian tertiary Institutions.
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Freund, Bill, and Sara S. Berry. "Fathers Work for Their Sons: Accumulation, Mobility and Class Formation in an Extended Yoruba Community." International Journal of African Historical Studies 21, no. 1 (1988): 160. http://dx.doi.org/10.2307/219915.
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Lloyd, Peter, and Sara S. Berry. "Fathers Work for Their Sons: Accumulation, Mobility, and Class Formation in an Extended Yoruba Community." Canadian Journal of African Studies / Revue Canadienne des Études Africaines 20, no. 3 (1986): 448. http://dx.doi.org/10.2307/484454.
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Woods, Dwayne, and Sara Berry. "Fathers Work for Their Sons: Accumulation, Mobility and Class Formation in an Extended Yoruba Community." African Studies Review 29, no. 1 (March 1986): 71. http://dx.doi.org/10.2307/524108.
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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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Trager, Lillian. ": Fathers Work for Their Sons: Accumulation, Mobility and Class Formation in an Extended Yoruba Community . Sara Berry." American Anthropologist 88, no. 2 (June 1986): 467–68. http://dx.doi.org/10.1525/aa.1986.88.2.02a00290.
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Orímóògùnjẹ́, Ọládélé Caleb. "The place and role of some songs in the Yorùbá indigenous health care system." South African Journal of African Languages 34, sup1 (May 20, 2014): 57–60. http://dx.doi.org/10.1080/02572117.2014.896536.
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Panda, Asit. "Transcending Boundaries: Wole Soyinka’s Fusion of African and Western Dramatic Traditions in A Dance of the Forests." International Journal of English Language, Education and Literature Studies (IJEEL) 3, no. 1 (2024): 37–40. http://dx.doi.org/10.22161/ijeel.3.1.5.
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The objective of this research article is to investigate the innovative fusion of Western and indigenous performance traditions that Wole Soyinka employs in his celebrated tragedy, A Dance of the Forests. This study identifies specific indigenous and European forms and performance idioms that contribute to Soyinka's tragedy through an in-depth analysis of the play's structure, themes, and performance techniques. This article emphasises Soyinka's incorporation of Western theatrical devices and traditions, as well as Yoruba mythology and traditional performance elements such as percussion, dance, music, and song. The reclamation and affirmation of precolonial indigenous theatrical forms and performance idioms make a substantial contribution to the assertion of indigenous identity. Soyinka's use of dramaturgy in A Dance of the Forests exemplifies the theatre's capacity to transcend artistic and cultural limitations. This article positions Soyinka's dramatic work as a response to the asserted dominance of Western modernity, reflecting a post-colonial society's endeavour to establish a legacy of alternative modernity in the artistic sphere.
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Bolarinwa, Abidemi Olusola. "Orality in Yorùbá films: A study of selected films of Akínwùmí Iṣọ̀lá." Tydskrif vir Letterkunde 60, no. 3 (December 13, 2023): 66–74. http://dx.doi.org/10.17159/tl.v60i3.14418.
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Despite technological innovations, orality still forms one of the aesthetic elements in the new media such as home video films as a result of the unending interface between orality and the literacy tradition. Using intertextuality as an approach, in this article I examine orality in selected films of Akínwùmí Ìṣọ̀lá, with a view to showing how he uses verbal arts as a powerful tool for the transmission of cultural values. The selected films are Saworoidẹ (1999), Agogo Èèwọ̀ (2002) and Ẹfúnṣetán Aníwúrà (2005). The films were selected based on their preponderant featuring of oral narratives. My findings reveal that folktales, legends, songs, Ifá corpus, drumbeats, incantations, and panegyric are the Yorùbá oral genres that Akínwùmí Ìṣọ̀lá incorporates into his films. One can infer from Ìṣọ̀lá’s films that there is an overlap between his oral culture and his creative work because culture is the active force that energises and drives the creative work. I conclude that Ìṣọ̀lá uses his creative ingenuity to re-awake and preserve Yorùbá oral tradition in his films, which points to the fact that oral literature has a continued vitality for contemporary society.