Samuel Adekunle Ola Osungbeju
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
P E E L C H R Is T Ian It Y , Is L a M , an D O R Isa R E Lig Io N
PEEL | CHRISTIANITY, ISLAM, AND ORISA RELIGION Luminos is the open access monograph publishing program from UC Press. Luminos provides a framework for preserving and rein- vigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org Christianity, Islam, and Orisa Religion THE ANTHROPOLOGY OF CHRISTIANITY Edited by Joel Robbins 1. Christian Moderns: Freedom and Fetish in the Mission Encounter, by Webb Keane 2. A Problem of Presence: Beyond Scripture in an African Church, by Matthew Engelke 3. Reason to Believe: Cultural Agency in Latin American Evangelicalism, by David Smilde 4. Chanting Down the New Jerusalem: Calypso, Christianity, and Capitalism in the Caribbean, by Francio Guadeloupe 5. In God’s Image: The Metaculture of Fijian Christianity, by Matt Tomlinson 6. Converting Words: Maya in the Age of the Cross, by William F. Hanks 7. City of God: Christian Citizenship in Postwar Guatemala, by Kevin O’Neill 8. Death in a Church of Life: Moral Passion during Botswana’s Time of AIDS, by Frederick Klaits 9. Eastern Christians in Anthropological Perspective, edited by Chris Hann and Hermann Goltz 10. Studying Global Pentecostalism: Theories and Methods, by Allan Anderson, Michael Bergunder, Andre Droogers, and Cornelis van der Laan 11. Holy Hustlers, Schism, and Prophecy: Apostolic Reformation in Botswana, by Richard Werbner 12. Moral Ambition: Mobilization and Social Outreach in Evangelical Megachurches, by Omri Elisha 13. Spirits of Protestantism: Medicine, Healing, and Liberal Christianity, by Pamela E. -
Yoruba Art & Culture
Yoruba Art & Culture Phoebe A. Hearst Museum of Anthropology University of California, Berkeley Yoruba Art and Culture PHOEBE A. HEARST MUSEUM OF ANTHROPOLOGY Written and Designed by Nicole Mullen Editors Liberty Marie Winn Ira Jacknis Special thanks to Tokunbo Adeniji Aare, Oduduwa Heritage Organization. COPYRIGHT © 2004 PHOEBE A. HEARST MUSEUM OF ANTHROPOLOGY AND THE REGENTS OF THE UNIVERSITY OF CALIFORNIA. ALL RIGHTS RESERVED. PHOEBE A. HEARST MUSEUM OF ANTHROPOLOGY ◆ UNIVERSITY OF CALIFORNIA AT BERKELEY BERKELEY, CA 94720-3712 ◆ 510-642-3682 ◆ HTTP://HEARSTMUSEUM.BERKELEY.EDU Table of Contents Vocabulary....................4 Western Spellings and Pronunciation of Yoruba Words....................5 Africa....................6 Nigeria....................7 Political Structure and Economy....................8 The Yoruba....................9, 10 Yoruba Kingdoms....................11 The Story of How the Yoruba Kingdoms Were Created....................12 The Colonization and Independence of Nigeria....................13 Food, Agriculture and Trade....................14 Sculpture....................15 Pottery....................16 Leather and Beadwork....................17 Blacksmiths and Calabash Carvers....................18 Woodcarving....................19 Textiles....................20 Religious Beliefs....................21, 23 Creation Myth....................22 Ifa Divination....................24, 25 Music and Dance....................26 Gelede Festivals and Egugun Ceremonies....................27 Yoruba Diaspora....................28 -
AFN 121 Yoruba Tradition and Culture
City University of New York (CUNY) CUNY Academic Works Open Educational Resources Borough of Manhattan Community College 2021 AFN 121 Yoruba Tradition and Culture Remi Alapo CUNY Borough of Manhattan Community College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/bm_oers/29 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Presented as part of the discussion on West Africa about the instructor’s Heritage in the AFN 121 course History of African Civilizations on April 20, 2021. Yoruba Tradition and Culture Prof. Remi Alapo Department of Ethnic and Race Studies Borough of Manhattan Community College [BMCC]. Questions / Comments: [email protected] AFN 121 - History of African Civilizations (Same as HIS 121) Description This course examines African "civilizations" from early antiquity to the decline of the West African Empire of Songhay. Through readings, lectures, discussions and videos, students will be introduced to the major themes and patterns that characterize the various African settlements, states, and empires of antiquity to the close of the seventeenth century. The course explores the wide range of social and cultural as well as technological and economic change in Africa, and interweaves African agricultural, social, political, cultural, technological, and economic history in relation to developments in the rest of the world, in addition to analyzing factors that influenced daily life such as the lens of ecology, food production, disease, social organization and relationships, culture and spiritual practice. -
Mannitol Dosing Error During Pre-Neurosurgical Care of Head Injury: a Neurosurgical In-Hospital Survey from Ibadan, Nigeria
Published online: 2021-01-29 THIEME Original Article 171 Mannitol Dosing Error during Pre-neurosurgical Care of Head Injury: A Neurosurgical In-Hospital Survey from Ibadan, Nigeria Amos Olufemi Adeleye1,2 Toyin Ayofe Oyemolade2 Toluyemi Adefolarin Malomo2 Oghenekevwe Efe Okere2 1Department of Surgery, Division of Neurological Surgery, College Address for correspondence Amos Olufemi Adeleye, MBBS, of Medicine, University of Ibadan, Ibadan, Nigeria Department of Neurological Surgery, University College Hospital, 2Department of Neurological Surgery, University College Hospital, UCH, Ibadan, Owo, PMB 1053, Nigeria Ibadan, Nigeria (e-mail: [email protected]). J Neurosci Rural Pract:2021;12:171–176 Abstract Objectives Inappropriate use of mannitol is a medical error seen frequently in pre-neurosurgical head injury (HI) care that may result in serious adverse effects. This study explored this medical error amongst HI patients in a Nigerian neurosurgery unit. Methods We performed a cross-sectional analysis of a prospective cohort of HI patients who were administered mannitol by their initial non-neurosurgical health care givers before referral to our center over a 22-month period. Statistical Analysis A statistical software was used for the analysis with which an α value of <0.05 was deemed clinically significant. Results Seventy-one patients were recruited: 17 (23.9%) from private hospitals, 13 (18.3%) from primary health facilities (PHFs), 20 (28.2%) from secondary health facilities (SHFs), and 21 (29.6%) from tertiary health facilities (THFs). Thirteen patients (18.3%) had mild HI; 29 (40.8%) each had moderate and severe HI, respectively. Pupillary abnormalities were documented in five patients (7.04%) with severe HI and neurological deterioration in two with mild HI. -
Trends in Owo Traditional Sculptures: 1995 – 2010
Mgbakoigba, Journal of African Studies. Vol.5 No.1. December 2015 TRENDS IN OWO TRADITIONAL SCULPTURES: 1995 – 2010 Ebenezer Ayodeji Aseniserare Department of Fine and Applied Arts University of Benin, Benin City [email protected] 08034734927, 08057784545 and Efemena I. Ononeme Department of Fine and Applied Arts University of Benin, Benin City [email protected] [email protected] 08023112353 Abstract This study probes into the origin, style and patronage of the traditional sculptures in Owo kingdom between 1950 and 2010. It examines comparatively the sculpture of the people and its affinity with Benin and Ife before and during the period in question with a view to predicting the future of the sculptural arts of the people in the next few decades. Investigations of the study rely mainly on both oral and written history, observation, interviews and photographic recordings of visuals, visitations to traditional houses and Owo museum, oral interview of some artists and traditionalists among others. Oral data were also employed through unstructured interviews which bothered on analysis, morphology, formalism, elements and features of the forms, techniques and styles of Owo traditional sculptures, their resemblances and relationship with Benin and Ife artefacts which were traced back to the reigns of both Olowo Ojugbelu 1019 AD to Olowo Oshogboye, the Olowo of Owo between 1600 – 1684 AD, who as a prince, lived and was brought up by the Oba of Benin. He cleverly adopted some of Benin‟s sculptural and historical culture and artefacts including carvings, bronze work, metal work, regalia, bead work, drums and some craftsmen with him on his return to Owo to reign. -
African Concepts of Energy and Their Manifestations Through Art
AFRICAN CONCEPTS OF ENERGY AND THEIR MANIFESTATIONS THROUGH ART A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Renée B. Waite August, 2016 Thesis written by Renée B. Waite B.A., Ohio University, 2012 M.A., Kent State University, 2016 Approved by ____________________________________________________ Fred Smith, Ph.D., Advisor ____________________________________________________ Michael Loderstedt, M.F.A., Interim Director, School of Art ____________________________________________________ John R. Crawford-Spinelli, D.Ed., Dean, College of the Arts TABLE OF CONTENTS LIST OF FIGURES………………………………………….. iv ACKNOWLEDGMENTS …………………………………… vi CHAPTERS I. Introduction ………………………………………………… 1 II. Terms and Art ……………………………………………... 4 III. Myths of Origin …………………………………………. 11 IV. Social Structure …………………………………………. 20 V. Divination Arts …………………………………………... 30 VI. Women as Vessels of Energy …………………………… 42 VII. Conclusion ……………………………………….…...... 56 VIII. Images ………………………………………………… 60 IX. Bibliography …………………………………………….. 84 X. Further Reading ………………………………………….. 86 iii LIST OF FIGURES Figure 1: Porogun Quarter, Ijebu-Ode, Nigeria, 1992, Photograph by John Pemberton III http://africa.si.edu/exhibits/cosmos/models.html. ……………………………………… 60 Figure 2: Yoruba Ifa Divination Tapper (Iroke Ifa) Nigeria; Ivory. 12in, Baltimore Museum of Art http://www.artbma.org/. ……………………………………………… 61 Figure 3.; Yoruba Opon Ifa (Divination Tray), Nigerian; carved wood 3/4 x 12 7/8 x 16 in. Smith College Museum of Art, http://www.smith.edu/artmuseum/. ………………….. 62 Figure 4. Ifa Divination Vessel; Female Caryatid (Agere Ifa); Ivory, wood or coconut shell inlay. Nigeria, Guinea Coast The Metropolitan Museum of Art, http://www.metmuseum.org. ……………………… 63 Figure 5. Beaded Crown of a Yoruba King. Nigerian; L.15 (crown), L.15 (fringe) in. -
1 Nigerian Journal of Art and Tourism Vol. 1. No. 1. 2017 Nigerian Journal
Nigerian Journal of Art and Tourism Vol. 1. No. 1. 2017 Nigerian Journal of Art and Tourism is published annually by National Gallery of Art Lafia, in collaboration with Society of Nigerian Artists Nasarawa State Chapter. Views expressed in this publication are those of the contributors. Copyright is owned by National Gallery of Art Lafia Editor: Nwachukwu A. Onuorah ( National Gallery of Art, Lafia) Assistant Editor: Blasie G. Gbaden, Ph.D (Federal University Lafia) Editorial Consultants Uche Nnadozie (National Gallery of Art, Lokoja) Ozioma Onuzulike, Ph.D (Prof. University of Nigeria, Nsukka) Barth Oshionebo, Ph.D (Prof. University of Abuja) Ifedioramma N. Dike, Ph.D (Nnamdi Azikiwe University Awka) Okechukwu Nwafor, Ph.D (Nnamdi Azikiwe University Awka) Raymond K. Kange (Federal University, Lafia) Contributions Manuscripts may be submitted in Abstracts of about 100 words should English via email to; accompany each article. [email protected] and [email protected] and should not For more information contact; be more than 4,000 words. Articles Nigerian Journal of Art and Tourism, should be in Microsoft words, double National Gallery of Art Shendam Road, spacing in A4 format adopting the APA Behind City Hall P.M.B 130 Lafia style sheet with notes in endnote format. Nasarawa State, Nigeria. Accompanying digital images should [email protected] have a resolution of 300dpi and be sent +2347065552348 along with fill caption and credit information. Annual Subscription Rate Author’s name, affiliations and contact Individual Institutions should appear on a separate cover page. Nigeria N3,500.00 N4,000.00 Submission must be accompanied with U.K #12.00 #15.00 an assessment fee of ten thousand U.S $25.00 $30.00 Naira(N10,000) in bank draft or cash payable to Society of Nigerian Artists, Printed by Nasarawa chapter (First Bank Abutex Productions, Lafia, Nasarawa 2016098882) together with a scanned State 08037378470 copy of the payment slip. -
Santería: from Slavery to Slavery
Santería: From Slavery to Slavery Kent Philpott This, my second essay on Santería, is necessitated for two reasons. One, requests came in for more information about the religion; and two, responses to the first essay indicated strong disagreement with my views. I will admit that my exposure to Santería,1 at that point, was not as thorough as was needed. Now, however, I am relying on a number of books about the religion, all written by decided proponents, plus personal discussions with a broad spectrum of people. In addition, I have had more time to process what I learned about Santería as I interacted with the following sources: (1) Santería the Religion,by Migene Gonzalez-Wippler, (2) Santería: African Spirits in America,by Joseph M. Murphy, (3) Santería: The Beliefs and Rituals of a Growing Religion in America, by Miguel A. De La Torre, (4) Yoruba-Speaking Peoples, by A. B. Ellis, (5) Kingdoms of the Yoruba, 3rd ed., by Robert S. Smith, (6) The Good The Bad and The Beautiful: Discourse about Values in Yoruba Culture, by Barry Hallen, and (7) many articles that came up in a Google search on the term "Santería,” from varying points of view. My title for the essay, "From Slavery to Slavery," did not come easily. I hope to be as accepting and tolerant of other belief systems as I can be. However, the conviction I retained after my research was one I knew would not be appreciated by those who identified with Santería. Santería promises its adherents freedom but succeeds only in bringing them into a kind of spiritual, emotional, and mental bondage that is as devastating as the slavery that originally brought West Africans to the New World in the first place. -
El Concepto De Vida Y Muerte En La Religión Yoruba
El concepto de vida y muerte en la religión yoruba Leonel Gámez Céspedes Sociedad Yoruba de México, A. C. os conceptos de vida y muerte para las personas que no comprenden nues- tra religión, y aun para muchos practicantes de la misma, son confusos y L llenos de lo que un lector casual llamaría “ambigüedades”. Sin embargo, en la mentalidad yoruba cada uno de los procesos de nuestra vida y nuestra muerte lleva pasos a recorrer, pues el concepto de ambas es equivalente al de hacer un via- je. De hecho, en nuestra religión todas las consagraciones que recibimos llevan lo que se denomina un itán, o sea un “camino” en su traducción al español. Esta sen- da a seguir que se nos traza nos llevará a la culminación de nuestras vidas con éxi- tos, prosperidad y sobre todo una larga existencia y una buena muerte. Muchos de los conceptos yoruba que veremos serán familiares a personas que conozcan algo de mitología griega. Como veremos, la muerte no está excluida y es parte del camino que debemos recorrer. Cada fase de nuestra muerte es precedida por alguna deidad o entidad que tiene una función en este proceso que nos toca pasar. En esta fase veremos que pasamos a ser un alma al morir y cómo después podemos pasar a ser un “ancestro venerado”. De hecho, si nuestra vida ha sido muy ejemplar, al morir podemos llegar a ser un egungun (ancestro venerado) o un orisha familiar o comunitario. En nuestra religión el concepto se recoge en la frase popular Ikú lobi ocha: “El muerto pare al santo”. -
Changing Values of Traditional Marriage Among the Awori in Badagry Local Government
International Journal of Social & Management Sciences, Madonna University (IJSMS) Vol.1 No.1, March 2017; pg.131 – 138 CHANGING VALUES OF TRADITIONAL MARRIAGE AMONG THE AWORI IN BADAGRY LOCAL GOVERNMENT OLARINMOYE, ADEYINKA WULEMAT & ALIMI, FUNMILAYO SOFIYAT Department of Sociology, Lagos State University. Email address: [email protected] Abstract Some decades ago, it would have seemed absurd to question the significance of traditional marriage among the Awori-Yoruba of Southwestern Nigeria, as it was considered central to the organization of adult life. However, social change has far reaching effects on African traditional life. For instance, the increased social acceptance of pre-marital cohabitation, pre-marital sex and pregnancies and divorce is wide spread among the Yoruba people of today. This however appeared to have replaced the norms of traditional marriage; where marriage is now between two individuals and not families. This research uncovers what marriage values of the Yoruba were and how these values had been influenced overtime. The qualitative method of data collection was used. Data was collected and analyzed utilizing the content analysis and ethnographic summary techniques. The study revealed that modernization, education, mixture of cultures and languages, inter-marriage and electronic media have brought about changes in traditional marriage, along with consequences such as; drop in family standard, marriage instability, weak patriarchy system, and of values and customs. Despite the social changes, marriage remains significant value for individuals, families and in Yoruba society as a whole. Keywords: Traditional values, marriage, social change, Yoruba. INTRODUCTION The practice of marriage is apparently one of the most interesting aspects of human culture. -
Africana Studies Review
AFRICANA STUDIES REVIEW JOURNAL OF THE CENTER FOR AFRICAN AND AFRICAN AMERICAN STUDIES SOUTHERN UNIVERSITY AT NEW ORLEANS VOLUME 6 NUMBER 1 SPRING 2019 ON THE COVER DETAIL FROM A PIECE OF THE WOODEN QUILTS™ COLLECTION BY NEW ORLEANS- BORN ARTIST AND HOODOO MAN, JEAN-MARCEL ST. JACQUES. THE COLLECTION IS COMPOSED ENTIRELY OF WOOD SALVAGED FROM HIS KATRINA-DAMAGED HOME IN THE TREME SECTION OF THE CITY. ST. JACQUES CITES HIS GRANDMOTHER—AN AVID QUILTER—AND HIS GRANDFATHER—A HOODOO MAN—AS HIS PRIMARY INFLUENCES AND TELLS OF HOW HEARING HIS GRANDMOTHER’S VOICE WHISPER, “QUILT IT, BABY” ONE NIGHT INSPIRED THE ACCLAIMED COLLECTION. PIECES ARE NOW ON DISPLAY AT THE AMERICAN FOLK ART MUSEUM AND OTHER VENUES. READ MORE ABOUT ST. JACQUES’ JOURNEY BEGINNING ON PAGE 75 COVER PHOTOGRAPH BY DEANNA GLORIA LOWMAN AFRICANA STUDIES REVIEW JOURNAL OF THE CENTER FOR AFRICAN AND AFRICAN AMERICAN STUDIES SOUTHERN UNIVERSITY AT NEW ORLEANS VOLUME 6 NUMBER 1 SPRING 2019 ISSN 1555-9246 AFRICANA STUDIES REVIEW JOURNAL OF THE CENTER FOR AFRICAN AND AFRICAN AMERICAN STUDIES SOUTHERN UNIVERSITY AT NEW ORLEANS VOLUME 6 NUMBER 1 SPRING 2019 TABLE OF CONTENTS About the Africana Studies Review ....................................................................... 4 Editorial Board ....................................................................................................... 5 Introduction to the Spring 2019 Issue .................................................................... 6 Funlayo E. Wood Menzies “Tribute”: Negotiating Social Unrest through African Diasporic Music and Dance in a Community African Drum and Dance Ensemble .............................. 11 Lisa M. Beckley-Roberts Still in the Hush Harbor: Black Religiosity as Protected Enclave in the Contemporary US ................................................................................................ 23 Nzinga Metzger The Tree That Centers the World: The Palm Tree as Yoruba Axis Mundi ........ -
Plot Summaries of the Brother/Sister Plays
1 The Story So Far: Plot Summaries of The Brother/Sister Plays Marcus; or The Secret of Sweet is part three of a series of stories called The Brother/Sister Plays. You might find it helpful to read these summaries as the shows are interconnected, but know that there are spoilers! In The Red and Brown Water Oya is fast runner—beautiful to watch on the track, and on the verge of womanhood. The neighbor boy Elegba warns her mother that he has been having vivid dreams about her floating in water, bleeding. At her track meet, Oya meets the Man from State, who offers her a scholarship. She asks for the chance to go discuss it with her mother, Mama Moja. At home, Oya is visited by kind, stuttering Ogun, who seems to have a crush on her, but the arrival of another man, smooth, sexy Shango, sends him off. Mama Moja does not approve of Shango for her daughter and chases him away. Mama Moja is feeling that her time is short, so she is reluctant to let her daughter take the scholarship. Oya passes on the scholarship to stay with her Mama, who dies. Shango comes to offer his condolences, and with no Mama Moja to chase him off, he stays. Shango’s relationship with Oya is tempestuous. When Ogun’s aunt/Oya’s godmother Elegua visits she reminds Oya that education should come first. But the scholarship isn’t available any more. Shango joins the army and leaves. Ogun returns to Oya, offering her his love and one day, a family.