Yoruba Art & Culture
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Introduction: Introducing Yemoja
1 2 3 4 5 Introduction 6 7 8 Introducing Yemoja 9 10 11 12 Solimar Otero and Toyin Falola 13 14 15 16 17 18 Mother I need 19 mother I need 20 mother I need your blackness now 21 as the august earth needs rain. 22 —Audre Lorde, “From the House of Yemanjá”1 23 24 “Yemayá es Reina Universal porque es el Agua, la salada y la dul- 25 ce, la Mar, la Madre de todo lo creado / Yemayá is the Universal 26 Queen because she is Water, salty and sweet, the Sea, the Mother 27 of all creation.” 28 —Oba Olo Ocha as quoted in Lydia Cabrera’s Yemayá y Ochún.2 29 30 31 In the above quotes, poet Audre Lorde and folklorist Lydia Cabrera 32 write about Yemoja as an eternal mother whose womb, like water, makes 33 life possible. They also relate in their works the shifting and fluid nature 34 of Yemoja and the divinity in her manifestations and in the lives of her 35 devotees. This book, Yemoja: Gender, Sexuality, and Creativity in the 36 Latina/o and Afro-Atlantic Diasporas, takes these words of supplica- 37 tion and praise as an entry point into an in-depth conversation about 38 the international Yoruba water deity Yemoja. Our work brings together 39 the voices of scholars, practitioners, and artists involved with the inter- 40 sectional religious and cultural practices involving Yemoja from Africa, 41 the Caribbean, North America, and South America. Our exploration 42 of Yemoja is unique because we consciously bridge theory, art, and 43 xvii SP_OTE_INT_xvii-xxxii.indd 17 7/9/13 5:13 PM xviii Solimar Otero and Toyin Falola 1 practice to discuss orisa worship3 within communities of color living in 2 postcolonial contexts. -
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. -
The Singer As Priestess
-, ' 11Ie Singer as Priestess: Interviews with Celina Gonzatez and Merceditas Valdes ".:" - , «1',..... .... .. (La Habana, 1993) Ivor Miller Celina Gonzalez: Queen of the Punto Cubano rummer Ivan Ayala) grew up in New York City listening to the music of Celina Gonzalez. * As Da child in the 1960s he was brought to Puerto Rican espiritista ceremonies, where instead of using drums, practitioners would play Celina's records to invoke the spirits. This is one way that Celina's music and the dedication of her followers have blasted through the U.S. embargo against Cuba that has deprived us of some of the planet's most potent music, art and literature for over 32 years. Ivan's experi ence shows the ingenuity of working people in maintaining human connections that are essential to them, in spite of governments that would keep them separate. Hailed as musical royalty in Colombia, Venezuela, Mexico, England and in Latin USA, Celina has, until very recently, been kept out of the U.S. n:tarket.2 Cuba has long been a mecca for African-derived religious and musical traditions, and Celina's music taps a deep source. It is at the same time popular and sacred, danceable and political. By using the ancient Spanish dicima song form to sing about the Yoruba deities (orichas), she has become a symbol of Cuban creole (criollo) traditions. A pantheon of orichas are worshipped in the Santeria religion, which is used by practitioners to protect humans from sickness and death, and to open the way for peace, stability, and success. During the 14 month period that I spent in Cuba from 1991-1994, I had often heard Celina's music on the radio, TV, and even at a concert/rally for the Young Communist League (UJC), where the chorus of "Long live Chango'" ("iQueviva Chango!") was chanted by thou Celina Gonzalez (r) and [dania Diaz (l) injront o/Celina's Santa sands of socialist Cuba's "New Men" at the Plaza of the Revolution.3 Celina is a major figure in Cuban music and cultural identity. -
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. -
From Maroons to Mardi Gras
FROM MAROONS TO MARDI GRAS: THE ROLE OF AFRICAN CULTURAL RETENTION IN THE DEVELOPMENT OF THE BLACK INDIAN CULTURE OF NEW ORLEANS A MASTERS THESIS SUBMITTED TO THE GRADUATE FACULTY OF LIBERTY UNIVERSITY BY ROBIN LIGON-WILLIAMS IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY DECEMBER 18, 2016 Copyright: Robin Ligon-Williams, © 2016 CONTENTS ACKNOWLEDGEMENTS iv. ABSTRACT vi. CHAPTER 1. INTRODUCTION 1 History and Background 1 Statement of the Problem 1 Research Question 2 Glossary of Terms 4 Limitations of the Study 6 Assumptions 7 2. LITERATURE REVIEW 9 New Orleans-Port of Entry for African Culture 9 Brotherhood in Congo Square: Africans & Native Americans Unite 11 Cultural Retention: Music, Language, Masking, Procession and Ritual 13 -Musical Influence on Jazz & Rhythm & Blues 15 -Language 15 -Procession 20 -Masking: My Big Chief Wears a Golden Crown 23 -African Inspired Masking 26 -Icons of Resistance: Won’t Bow Down, Don’t Know How 29 -Juan “Saint” Maló: Epic Hero of the Maroons 30 -Black Hawk: Spiritual Warrior & Protector 34 ii. -Spiritualist Church & Ritual 37 -St. Joseph’s Day 40 3. METHODOLOGY 43 THESIS: 43 Descriptions of Research Tools/Data Collection 43 Participants in the Study 43 Academic Research Timeline 44 PROJECT 47 Overview of the Project Design 47 Relationship of the Literature to the Project Design 47 Project Plan to Completion 49 Project Implementation 49 Research Methods and Tools 50 Data Collection 50 4. IN THE FIELD 52 -Egungun Masquerade: OYOTUNJI Village 52 African Cultural Retentions 54 -Ibrahima Seck: Director of Research, Whitney Plantation Museum 54 -Andrew Wiseman: Ghanaian/Ewe, Guardians Institute 59 The Elders Speak 62 -Bishop Oliver Coleman: Spiritualist Church, Greater Light Ministries 62 -Curating the Culture: Ronald Lewis, House of Dance & Feathers 66 -Herreast Harrison: Donald Harrison Sr. -
As an Expression of Yorùbá Aesthetic Philosophy
ISSN 2039-2117 (online) Mediterranean Journal of Vol 9 No 4 ISSN 2039-9340 (print) Social Sciences July 2018 Research Article © 2018 Ajíbóyè et.al.. This is an open access article licensed under the Creative Commons Attribution-NonCommercial-NoDerivs License (http://creativecommons.org/licenses/by-nc-nd/3.0/). Orí (Head) as an Expression of Yorùbá Aesthetic Philosophy Olusegun Ajíbóyè Stephen Fọlárànmí Nanashaitu Umoru-Ọ̀ kẹ Department of Fine and Applied Arts, Obafemi Awólọ́ wọ University, Ile-Ife, Nigeria Doi: 10.2478/mjss-2018-0115 Abstract Aesthetics was never a subject or a separate philosophy in the traditional philosophies of black Africa. This is however not a justification to conclude that it is nonexistent. Indeed, aesthetics is a day to day affair among Africans. There are criteria for aesthetic judgment among African societies which vary from one society to the other. The Yorùbá of Southwestern Nigeria are not different. This study sets out to examine how the Yorùbá make their aesthetic judgments and demonstrate their aesthetic philosophy in decorating their orí, which means head among the Yorùbá. The head receives special aesthetic attention because of its spiritual and biological importance. It is an expression of the practicalities of Yorùbá aesthetic values. Literature and field work has been of paramount aid to this study. The study uses photographs, works of art and visual illustrations to show the various ways the head is adorned and cared for among the Yoruba. It relied on Yoruba art and language as a tool of investigating the concept of ori and aesthetics. Yorùbá aesthetic values are practically demonstrable and deeply located in the Yorùbá societal, moral and ethical idealisms. -
A Critical Analysis of Marital Instability Among Yoruba Christian Couples In
A Critical Analysis of Marital Instability among Yoruba Christian Couples in the North West of England By Philip Bukola Oyewale A DISSERTATION Submitted to the Department of Theology, Philosophy and Religious Studies, Liverpool Hope University in partial fulfilment of the requirements for the Degree of DOCTOR OF PHILOSOPHY (Theology) Liverpool, UK August 2016 1 Declaration I, Philip Oyewale, declare that this thesis is my original research and has not been submitted previously for another degree or qualification of this or any other university or other institute of learning. All published and unpublished works cited are duly referenced and acknowledged. Philip Oyewale 2 Abstract Marriage, as understood from the Christian, Nigerian Baptist Convention‟s, perspective, is a mutual relationship endorsed by holy matrimony between a consenting man and a woman. Similarly, within the Nigerian socio-cultural setting, particularly among the Yoruba, marriage is recognized and endorsed as sacred and accorded great priority. To the Yoruba, it signifies a crucial rite of passage, a transition to adulthood and immense responsibilities within the community. However, despite the sanctity and lofty views of marriage, a number of Diaspora Yoruba Christians couples living in the North West of England (NWE) are increasingly experiencing serious marital instability and conflict. This thesis, therefore, critically examines Yoruba couples „understanding of marriage and how their various contacts with social realities in the NWE impact upon spousal relations. Particular attention is paid to cross-cultural factors, power structures among the Yoruba and social structures that promote Yoruba women‟s empowerment in the NWE. The study employs semi-structured qualitative interviews. -
Sculptors' Jewellery Offers an Experience of Sculpture at Quite the Opposite End of the Scale
SCULPTORS’ JEWELLERY PANGOLIN LONDON FOREWORD The gift of a piece of jewellery seems to have taken a special role in human ritual since Man’s earliest existence. In the most ancient of tombs, archaeologists invariably excavate metal or stone objects which seem to have been designed to be worn on the body. Despite the tiny scale of these precious objects, their ubiquity in all cultures would indicate that jewellery has always held great significance.Gold, silver, bronze, precious stone, ceramic and natural objects have been fashioned for millennia to decorate, embellish and adorn the human body. Jewellery has been worn as a signifier of prowess, status and wealth as well as a symbol of belonging or allegiance. Perhaps its most enduring function is as a token of love and it is mostly in this vein that a sculptor’s jewellery is made: a symbol of affection for a spouse, loved one or close friend. Over a period of several years, through trying my own hand at making rings, I have become aware of and fascinated by the jewellery of sculptors. This in turn has opened my eyes to the huge diversity of what are in effect, wearable, miniature sculptures. The materials used are generally precious in nature and the intimacy of being worn on the body marries well with the miniaturisation of form. For this exhibition Pangolin London has been fortunate in being able to collate a very special selection of works, ranging from the historical to the contemporary. To complement this, we have also actively commissioned a series of exciting new pieces from a broad spectrum of artists working today. -
1 Chapter Three Historical
University of Pretoria etd, Adeogun A O (2006) CHAPTER THREE HISTORICAL-CULTURAL BACKCLOTH OF MUSIC EDUCATION IN NIGERIA This chapter traces the developments of music education in the precolonial Nigeria. It is aimed at giving a social, cultural and historical background of the country – Nigeria in the context of music education. It describes the indigenous African music education system that has been in existence for centuries before the arrival of Islam and Christianity - two important religions, which have influenced Nigerian music education in no small measure. Although the title of this thesis indicates 1842-2001, it is deemed expedient, for the purposes of historical background, especially in the northern part of Nigeria, to dwell contextually on the earlier history of Islamic conquest of the Hausaland, which introduced the dominant musical traditions and education that are often mistaken to be indigenous Hausa/northern Nigeria. The Islamic music education system is dealt with in Chapter four. 3.0 Background - Nigeria Nigeria, the primarily focus of this study, is a modern nation situated on the Western Coast of Africa, on the shores of the Gulf of Guinea which includes the Bights of Benin and Biafra (Bonny) along the Atlantic Coast. Entirely within the tropics, it lies between the latitude of 40, and 140 North and longitude 20 501 and 140 200 East of the Equator. It is bordered on the west, north (northwest and northeast) and east by the francophone countries of Benin, Niger and Chad and Cameroun respectively, and is washed by the Atlantic Ocean, in the south for about 313 kilometres. -
Oja Representational Objects in Yewaland, Ogun State, Nigeria Ayedun Matthew Kolawole Ab
African Scholar VOL. 18 NO. 6 Publications & ISSN: 2110-2086 Research SEPTEMBER, 2020 International African Scholar Journal of Humanities and Social Sciences (JHSS-6) Study of Forms and Functions of Esu – Oja Representational Objects in Yewaland, Ogun State, Nigeria Ayedun Matthew Kolawole Fine and Applied Arts Department, School of Vocational and Technical Education, Tai Solarin College of Education, Omu – Ijebu Abstract The representational images such as pots, rattles, bracelets, stones, cutlasses, wooden combs, staffs, mortals, brooms, etc. are religious and its significance for the worshippers were that they had faith in it. The denominator in the worship of all gods and spirits everywhere is faith. The power of an image was believed to be more real than that of a living being. The Yoruba appear to be satisfied with the gods with whom they are in immediate touch because they believe that when the Orisa have been worshipped, they will transmit what is necessary to Olodumare. This paper examines the traditional practices of the people of Yewa and discovers why Esu is market appellate. It focuses on the classifications of the forms and functions of Esu-Oja representational objects in selected towns in Yewaland. Keywords: appellate, classifications, divinities, fragment, forms, images, libations, mystical powers, Olodumare, representational, sacred, sacrifices, shrine, spirit archetype, transmission and transformation. Introduction Yewa which was formally called there are issues of intra-regional “Egbado” is located on Nigeria’s border conflicts that call for urgent attention. with the Republic of Benin. Yewa claim The popular decision to change the common origin from Ile-Ife, Oyo, ketu, Egbado name according to Asiwaju and Benin. -
The House of Oduduwa: an Archaeological Study of Economy and Kingship in the Savè Hills of West Africa
The House of Oduduwa: An Archaeological Study of Economy and Kingship in the Savè Hills of West Africa by Andrew W. Gurstelle A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Anthropology) in the University of Michigan 2015 Doctoral Committee: Professor Carla M. Sinopoli, Chair Professor Joyce Marcus Professor Raymond A. Silverman Professor Henry T. Wright © Andrew W. Gurstelle 2015 ACKNOWLEDGMENTS I must first and foremost acknowledge the people of the Savè hills that contributed their time, knowledge, and energies. Completing this dissertation would not have been possible without their support. In particular, I wish to thank Ọba Adétùtú Onishabe, Oyedekpo II Ọla- Amùṣù, and the many balè,̣ balé, and balọdè ̣that welcomed us to their communities and facilitated our research. I also thank the many land owners that allowed us access to archaeological sites, and the farmers, herders, hunters, fishers, traders, and historians that spoke with us and answered our questions about the Savè hills landscape and the past. This dissertion was truly an effort of the entire community. It is difficult to express the depth of my gratitude for my Béninese collaborators. Simon Agani was with me every step of the way. His passion for Shabe history inspired me, and I am happy to have provided the research support for him to finish his research. Nestor Labiyi provided support during crucial periods of excavation. As with Simon, I am very happy that our research interests complemented and reinforced one another’s. Working with Travis Williams provided a fresh perspective on field methods and strategies when it was needed most. -
“YORUBA's DON't DO GENDER”: a CRITICAL REVIEW of OYERONKE OYEWUMI's the Invention of Women
“YORUBA’S DON’T DO GENDER”: A CRITICAL REVIEW OF OYERONKE OYEWUMI’s The Invention of Women: Making an African Sense of Western Gender Discourses By Bibi Bakare-Yusuf Discourses on Africa, especially those refracted through the prism of developmentalism, promote gender analysis as indispensable to the economic and political development of the African future. Conferences, books, policies, capital, energy and careers have been made in its name. Despite this, there has been very little interrogation of the concept in terms of its relevance and applicability to the African situation. Instead, gender functions as a given: it is taken to be a cross-cultural organising principle. Recently, some African scholars have begun to question the explanatory power of gender in African societies.1 This challenge came out of the desire to produce concepts grounded in African thought and everyday lived realities. These scholars hope that by focusing on an African episteme they will avoid any dependency on European theoretical paradigms and therefore eschew what Babalola Olabiyi Yai (1999) has called “dubious universals” and “intransitive discourses”. Some of the key questions that have been raised include: can gender, or indeed patriarchy, be applied to non- Euro-American cultures? Can we assume that social relations in all societies are organised around biological sex difference? Is the male body in African societies seen as normative and therefore a conduit for the exercise of power? Is the female body inherently subordinate to the male body? What are