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- ItemOpen AccessAfiwe Akoonu Ajemo-Eko-Iwa-Omoluwabi ni Awujo Yoruba ati Hausa Bi O Se Han Ninu Orin Orlando Owoh ati Dan Maraya Jos (A Comparative Study of the Ethical Values of the Yoruba and Hausa as Reflected in the Songs Of Orlando Owoh and Dan Maraya Jos).(2015-08-24) Adesokan, Sunday Lawrence; Agbaje, J.B.This study analysed and contrasted the content of the songs of Orlando Owoh and Dan Maraya Jos, using them to identify the similarities and differences in the ethical values of the Hausa and Yoruba ethnic groups. In addition, the study explored their socio-cultural environments which gave the compositions the fame and acceptance they enjoyed. The themes inherent in the songs of the two artistes were also analysed. The methodology involved the collection, transcription and translation of five music albums of each of the artistes' songs. Ten purposively selected fans from four Yoruba speaking states and ten others from four Hausa speaking states were interviewed on the songs of Orlando Owoh and Dan Maraya Jos. The data collected were analysed within the framework of sociological theory of literature. The findings revealed that although the artistes were from two different backgrounds, there were similarities in the content of their songs. They employed their lyrics to campaign for strict adherence to ethical values in the two societies. The study also revealed that the two societies differed in terms of some peculiar ethical values. Peculiar values in Yoruba society are avoidance of despisement, avoidance of hard drug consumption, avoidance of embezzlement of public funds, staying away from armed robbery and avoidance of wandering while those of Hausa society are having many children, keeping beard, observation of fasting and prayer, taking pap as breakfast and non engagement in professional prostitution. The study concluded that the recent development in the music of the two artistes indicated that the pre-colonial traditional role of musicians as social critics was now being revived.
- ItemOpen AccessAfiwe Awon Owe Ti O Je Mo Igbeyawo Laarin Yoruba Ati Igbo(2015-09-23) Adeyinka, Adeyemi AbiodunThis study carried out a comparative study of Yoruba and Igbo proverbs on marriage. It also highlighted the similarities and differences in issues relating to marriage among the Igbo and the Yoruba as reflected in their proverbs. This was done in order to examine the form and content of proverbs in the two societies and compare them on the basis of the context of their use, their cultural values and aesthetics. Ninety-one Yoruba and sixty Igbo proverbs were purposively collected. Oral interviews were conducted with the native speakers of Yoruba and Igbo languages. The collected primary data were complemented with secondary materials from textbooks, libraries and the internet. The hermeneutics method was used in the analysis of the data. The analysis of the proverbs revealed that there were differences in the number of visitations made by the groom's family, in the requirements of engagement materials and in the format of the wedding ceremony. It also revealed that parents had the exclusive right to determine the choice of partners for their daughter as well as the time of marriage after consultation with Ifa oracle and members of the two families. Other similarities included formal introduction, engagement and a befitting marriage ceremony for the children. The Igbo attached much importance to the wealth and financial status of the groom as evidenced in the large amount of gifts presented by his family during various visitations to the bride's family. The Yoruba however, attached much importance to the moral standard of the groom’s family. Unlike the Yoruba who frowned upon intertribal marriage, the Igbo allowed their daughters to many from other ethnic coups, once other conditions were met by the groom's family. The study concluded that love, peace, progress and harmony were promoted in the house and in the society through the stages involved in marriage in the two societies as depicted by the proverbs. It also added that the two societies held female pre-marital virginity in high esteem and abhorred pre-marital sex.
- ItemOpen AccessAgbeyewo Alawomo-Litireso fun Oriki awon Sooko ni Ile Ife(2015-05-19) Salami, Ejitoyosi Olayemi; Sheba, J. O.The study examined Sooko praise poetry (oriki Sooko) and analysed the stylistic devices used in it. It also examined the place of Sooko chieftaincy and the traditions associated with it in Ile-Ife. These were done with a view to revealing the form, content and social significance of the poetry. Interviews were conducted with three traditional chiefs, three palace singers, four Sooko, all purposively selected in each of the four ruling houses in Ile-lfe and two Sooko each from Oke-Igbo, Ifetedo, ipetumodu, Edunabon and Ifewara. The data were analysed using sociological and hermeneutical . methods. The result showed that Sooko praise poetry was rich in the affirmation of attributes of princes and princesses in Ife land. It also revealed the important position of Sooko as the representative of princes and princesses in the political administration of Ife land. The study also revealed the spiritual prowess and social relevance of Sooko. It further showed that Sooko praise poetry employed such stylistic devices as repetition, alliteration and assonance, tonal counterpoint, allusion, simile, metaphor, personification and parallelism. The study concluded that Sooko praise poetry was very important in the political administration and cultural practices in Ife land.
- ItemOpen AccessAgbeyewo Ewi Ayaba Laarin Awon Oyo-Osun (An Appraisal of the Poetry of Obas' Wives among Oyo-Osun People)(2015-05-18) Oyeweso, Musibau Oyewale; Agbaje, J. B.This study examined poetry of Oba’s wives among the Oyo-Osun people. It analysed the nature, language and performance of the poetry of Oba's wives in the society, with a view to highlighting its significances. The primary data for the study were collected from the five purposively selected towns Osogbo, Ede, Ilawo-Ejigbo, Iwo and Ikoyi. Oral interviews were conducted with the kings of the selected towns. The data were transcribed and analysed using sociological and formalist theories. The results showed that the poetry was chanted daily in the palace and during any royal ceremony. It was also affirmed that there were two categories of Oba's wives, namely ayaba agba; (senior wives of an Oba), and ayaba keekeeke; (junior wives of an Oba) that jointly performed this poetry. It also showed that the poetry expressed status and role of Oba’s wives and the characters and deeds of the past Oba and the incumbent, and invocation of the spiritual forces within the palace. The language was found to be replete with poetic devices such as repetition, alliteration, parallelism, allusion, and metaphors. The study also showed that the two categories of Oba's wives, that is ayaba agba and ayaba keekeeke jointly performed this poetry. The study concluded that the poetry was an important means of instrument revealing information about the Oba, his wives, the happenings in the society and contemporary issues.
- ItemOpen AccessDenrele Adeetimikan Obasa (1927-1945) Akewi Alarojinle.(Obafemi Awolowo University, 1987) Akinyemi, Akintunde; Olabiyi, Babalola Yai; Isola, A.This research attempts to make a more significant literary assessment of the poems of Late Denrele Adeetimikan Obasa published from 1927 to 195 than has hitherto been done. The study suggests a solution to the problem of identifying the extent to which Obasa draws from the Yoruba oral poetic materials in composing his poems, and the effect of this on the interpretation of those poems. The assessment is based largely on two literary theories. First, we used the hermeneutic approach in determining the contents of Obasa's compositions. And, second, our analysis of the poems is based on structuralism. A complementary use of the two theories gives us a reliable result. This thesis suggests that scholars have found it difficult to regard Obasa as a good and competent Yoruba poet because when assessing him, they have concentrated mainly on his use of Yoruba poetic materials from the oral tradition in the composition of his poems. The study suggests further that when assessing Obasa as a poet, more emphasis should be placed not only on his use of Yoruba oral poetic materials but also on his effective choice and combination of the selected oral poetic materials, the messages, and the aesthetics of such composition. The thesis goes on to affirm that Obasa is very much concerned with the Yoruba's views of the world around them; and it is these views that Obasa presents in poetic form. When assessing Obasa's poems, therefore, one should also take note of their philosophical aspect. By so doing, one will not see Obasa as an ordinary poet but as a remarkable Yoruba poet and philosopher.
- ItemOpen AccessEwi Atenudenu Laaarin Awon Igbomina.(Obafemi Awolowo University, 1987) Awotayo, Atolani; Olajubu, O.; Oyelaran, O.The present study fills a gap in the study of the Yoruba Oral Literature by providing a systematic survey and characterisation of the poetic genres among the Igbomina people. The study classifies the poetic genres among; the Igbomina with respect to their provenance and functions in correlation with socio-economic groups. After a preview of poetry generally and the cultural background to Igbomina people end literature, the study presents a survey of all accessible sub-genres of the local poetry and the elucidation of their themes and functions. An analysis of the aesthetic aspects of the poems follows. The various sub-genres are found to have originated from Orin Elewe (a distinct chant in its own right). This argues that the Igbomina people are more related to Oyo than to other Yoruba sub-ethnic groups. The classification of Igbomina oral poetry in this work extends our horizon on the nature of Yoruba literature in general.
- ItemOpen AccessItupale Ewi Ajemokuu Laarin awon Egba ati Ijebu (A Critical Appraisal of Funeral Dirges among the Egba and Ijebu)(2015-04-27) Kareem, Mudasiru Abayomi; Agbaje, J. B.The study examined dirges among the Egba and Ijebu of Ogun State. It analysed their contents and examined the use of language in the genre, with a view to highlighting their aesthetic qualities and thematic preoccupations. Oral interviews were conducted with five purposively selected dirge chanters from each of the Egba and Ijebu communities. The chanted dirges were recorded, transcribed and analysed. The five Egba communities included Ake, Oke-ona, Gbagura, Owu, Ibara, while the five Ijebu communities included Ikene, Ilisan, Ijebu-Ode, Ipara and Ode-Remo. Sociological and hermeneutic methods were used in the analysis of the data. The study identified the following funeral dirges in the two communities. Igbala, Bolojo, Ege, Etutu, Apepe, Atoto, Agbe, Ekute and Iremoje. The dirges expressed in poetic form, homage to the ancestors, warning to the living and prayers for the audience. The language was found to be replete with poetic devices such as repetition, personification, metaphor, simile and allusions. The study concluded that dirges were a vital form of oral literature among the Egba and Ijebu Yoruba as it revealed their philosophy about life and about life after death. This was evident in their use of poetry as a means of sending messages through the deceased to the ancestors and of warning the living to live a virtuous life in order to make heaven. Asamo Ise yii se atupale ewi ajemokuu laarin awon Egba ati Ijebu ni Ipi n l e Ogun. O si tun se atupale akoonu ati ayewo isowolo-ede ise ona alawomo litireso pelu erongba ona ati ewa won han. A se iforowowanilenuwo pelu awon apohun ibile marun un marun un ti a dindi yan lati agbegbe kookan. Awon ipohun ajemokuu ni a gba sinu fonran, se adako won, a si se itupale won. Awon agbegbe Egba marun un ti a yewo ni Ake, Oke-ona, Gbagura, Owu ati ibara, nigba ti ti Ijebu je Ikenne, Ilisan. Ijebu-Ode, Ipara ati Ode-Remo. Ilana ibara-eni-gbe-po ati ifiwadiisotumo ni a mu lo lati se atupale gbogbo abo iwadii ti a gba jo. Ise yii toka si awon ewi ajemokuu bii igbala, Bolojo, Ege, Etutu, Apepe, Atoto. Agbe. Ekute ati Iremoje. Ewi Ajemokuu wonyii tun fi han pe lara akoonu ewi yii ni a ti ri ijuba fun Awon oku orun, ikilo fun awon alaye ati sadura awon olugbo ni ilana ewi. Lara awon ona ede to hande ju lo ninu ewi yii ni awitunwi, ifohunpeniyan, afiwe taara, afiwe eleloo ati iyanrefeere. Ise yii wa so asoyan pe ewi ajemokuu se pataki laarin Awon Egba ati ijebu Yoruba to eyi se afihan ero ijinle won nipa aye ati nipa aye ati nipa iye lehin iku. Eyi je jade ninu ise won nipa lilo ewi yii lati ran oku nise si awon ara orun ati fifi se ikilo fun awon to wa laaye lati gbe igbe aye to wuyi, ti o le muni de orun rere.
- ItemOpen AccessItupale Ewi Odun Oba ni awon Ilu Ajorukomo-Owu (An Examination of Oba Festival's Poetry Inowu Name-Related Towns(2015-06-23) Bakare, Yinusa AdeoyeThis study examined the poetry of Oba festivals in Owu name-related towns, by focusing on the sociology, dispersal and interrelationship of the Owu name-related towns in Yorubaland. It also conducted a contrastive analysis of the poetry. This was with a view to identifying the similarities and differences in the poetry and elucidating the sociological background and the effects of the Yoruba Civil War of 1821-1826 on the oneness of the Owu people. The field investigative method of research was employed. Six Owu name-related towns, namely, Orile-Owu, Owu-Kuta, Owu-Telemu, Owu-Ogbomoso, Owu-Abeokuta and Owu-Ajaawa were purposively selected and performances of Oba festivals in them were recorded on video tapes and transcribed. Oral material on the poetry of Oba festivals (Odun-Oba), their myths and history were collected through open-ended interviews with six priests and six priestesses of Obatala and six traditional chiefs in each of the six Owu name-related towns. Books, journals, articles, magazines and other relevant materials on related topics were consulted. The data collected were analysed within the general framework of sociology of literature. The results showed that each Owu name-related town constituted an independent community, but accepted Orile-Owu as their common origin. Their dispersal was a consequence of the Yoruba Civil War of 1821-1826. It was found that, after their dispersal and settlement in their new communities, there emerged dialectal variations and distinctive divergent features in the poetry of Oba festivals. Liturgical features adornment of shrines and the form and content of the poetry associated with the festival in the six communities were also found to be of different styles and modes. In Owu-Kuta, Orile-Owu, Owu-Telemu, Owu-Ogbomoso and Owu Ajaawa styles and modes were the same following the liturgical features of the standard Yoruba, while those of Owu-Abeokuta replicated the Egba dialect. In Orile-Owu, Owu-Kuta and Owu-Telemu, the shrines were located in the bush, while in Owu-Abeokuta, Owu-Ajaawa and Owu-Ogbomoso the shrines were sited in the palaces of their traditional rulers. The content of the poetry was similar, although the mode of chanting differed among the six communities. The poetry was chanted by only women in Owu-Abeokuta, but in the other Owu name-related towns both men and women chanted the poetry of Odun Oba. The poetry was replete with figures of speech such as repetition and metaphor and teemed with allusions that pointed to the historical background of the Owu people. It was concluded that the poetry of Odun Oba in Owu name-related towns was highly informative because it was a repertoire of history, sociology and interrelationships of Owu name-related towns. ASAMO Ohun ti ise yii da le ni itupale ewi odun Oba ni awon ilu Ajorukomo-Owu. A wo ohun to je akoonu awon ewi ti won n lo lasiko Odun Oba ni awon Ajorukomo-Owu. Bakan naa a wo ijora ati asepo to wa laarin awon ilu Ajorukomo-Owu ko to di pe pentuka de ba awon ilu yii. A tun se agbeyewo ipa ti ewi odun Oba n ko laarin awon ilu Ajorukomo-Owu. Ise yii je mo iwadii, o mu ka gba ohun sile ni asiko odun Oba ni awon asayan ilu Ajorukomo-Owu mefa. Awon ilu ti a lo ni Owu-Orile-Owu, Owu Kuta, Owu-Telemu, Owu-Abeokuta, Owu-Ajaawa pelu Owu-Ogbomoso. A se iforowanilenuwo pelu awon aworo odun Oba lokunrin ati lobinrin. Bakan naa ni a beere ibeere lowo aworo Obatala, awon Babalawo, awon ijoye ati awon Oba alaye ni awon ilu Ajorukomo-Owu. A tun de awon ojubo odun Oba, a se amulo awon akoole to wa nile lori odun Oba ni awon ilu Ajorukomo-Owu. Leyin eyi ni a wa se adako awon ohun ti a ti gba sile. Tiori ibara-eni-gbe-po ni a fi se itupale awon agbekale yii. Ninu iwadii ti a se, o han pe pataki ni ewi odun Oba ni awon ilu Ajorukomo-Owu, eyi ti awon to ti sise lori Owu tele ko ko ibi ara si. Ise yii je ko di mimo idi ti okookan awon ilu Ajorukomo-Owu fi da duro leyin ti ogun abele ti tu won ka. Bakan naa lo foju han ona ti awon eeyan Owu n gba bo orisa odun Oba. Ni ikadii, ise yii je ko di mimo pe ewi Odun Oba ni awon ilu Ajorukomo-Owu je eyi to kun fun opo itan, asa ati ilana ibara-eni-gbe-po ni awon Ajorukomo-Owu.
- ItemOpen AccessNature in Soyinka's Poetry: The Primary of Essence.(Obafemi Awolowo University, 1987) Adekoya, Olusegun Adesina; Biodun, JeyifoThe central idea of this dissertation is that Nature is portrayed in Soyinka is poetry in essentialist terms as a paradox. The dissertation begins with a review of the criticism of Soyinka's poetry and goes on to an examination of Soyinka's theoretical and critical essays through which the specific nature his poetics is garnered- a mythopoeia. This is followed by an examination of Soyinka's published volumes of poetry. Idanre and Other poems embodies the twin principle of creation and destruction, with the tragic aspect being more dominant, A Shuttle in the Crypt is an extension of the idea of the prevalence of evil in human nature to the problems of a strife-torn between 1967 and 1970. Ogun Abibiman demonstrates the permanence of change in nature and history. The thesis then goes on to compare Soyinka and Negritude, on the one hand, and Soyinka and British Romanticism, on the other, primarily on the basis of their attitudes to nature, and the personal, historical and cultural factors which underlie the affinities and differences discoverable between Soyinka and these literary movements. The conclusion, a gathering of the salient points of the preceding chapters, draws attention to the cultural concepts and themes that Soyinka has derived from nature: paradox and ambiguity; wholeness and continuity.
- ItemOpen AccessThe Quester in Disguise in Soyinka's Works: A Study of the Recurring Theme of Regeneration and Healing.(Obafemi Awolowo University, 1985) David, Mary T; Ogunba, OyinWole Soyinka's works, fiction, plays and poems are bound together by a persistent theme that appears in almost all of them despite variations of plot, character and setting. This is the theme of regeneration and healing which finds expression through multifarious motifs and symbols, dominant of these being the Quest. Almost all the protagonists of Soyinka appear to be on a quest the aim or the result of which is a heightening of consciousness, a spiritual renewal at the individual of communal level. Renewal is also brought about by a Sacrifice or a Communion Meal two rituals that Soyinka has repeatedly made use of. All this gives to Soyinka's works a deeply religious dimension. One could attribute this to his Yoruba heritage as well as to the deep hold that Christianity has on his imagination despite his renouncing it as a religion. The figure of Christ is evoked in many of his works as the archetype of Sacrifice/Saviour/Healer and also conflated with the dying and risen gods of the Fertility Cults and Vegetation Ceremonies. In all this Soyinka manifests his strong mythopoeic sensibility that delights in tracing and blending analogous myths of renewal from different cultures. His firm grounding in Western Literature has certainly contributed to this. It is clear from a close study of his works that the medieval romance of the Waste Land exerted a powerful influence on his imagination. Scattered in them we find mention or evocation of the Holy Grail and more than a suggestion of a Waste Land in need of fertilizing values. Soyinka's study of the Mystery Religions to which African Cultures bear deep affinity must have revealed to him the meaning of the Grail and the Quest for it a meaning that acquired Christian incrustation in the romances. The Grail as Cornucopia, a horn of plenty, as an alchemical symbol of transformation, as the phoenix that rises from its own ashes, as the Cup of the Mystic Neal, as a renewing initiatory experience, would naturally become a rich and polyvalent symbol in Soyinka's writings. An exegesis of his works in the light of these facts shows the persistence of his themes and their consonance with the ideals that inspire his literary expression and act as the basis for his social commitment.