DOCSLIB.ORG

Orisa-Shakespeare: a Study of Shakespeare Adaptations Inspired by the Yoruba Tradition

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Orisa-Shakespeare: A study of Shakespeare Adaptations Inspired by the Yoruba Tradition By Olalekan Is’haq Balogun (PhD with creative component) A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy in Theatre Victoria University of Wellington (2017) Abstract This thesis combines creative practice with critical analysis to intervene in the field of post-colonial Shakespeare where, for over a generation, the process of adaptation has been presented as one of the main strategies by which Shakespeare’s ambiguous legacy in successor cultures can be both confronted and manipulated. Scholars often use the term “writing back” to designate a set of adaptations which challenge the cultural capital that Shakespeare privileges. By linking Yoruba spirituality in its political and cultural terms to the wider field of the relation between Africa, African writers and theatre makers and Shakespeare, the thesis proposes a new sub-field or genre of adaptations, “Orisa-Shakespeare,” rooted in Yoruba traditions. The thesis argues that, written in Nigeria and the Yoruba global diaspora, this set of adaptations are not necessarily challenging the Shakespeare canon but addressing their own societies, thus “writing forward.” The thesis examines the cultural and political significance of this bourgeoning body of adaptations of Shakespeare through the lens of Yoruba epistemology and its aesthetic principles. The thesis is broadly divided into two parts: an exegesis of selected adaptations of Shakespeare as case studies of post-colonial works that reflect and integrate Yoruba creative and performative idioms and translate them into dramaturgy; and an original play, Emi Caesar! in which core elements of Shakespeare’s Julius Caesar are transplanted into the complex, violent world of Yoruba politics of the mid-19th century, as a parable for contemporary Nigeria politics where factionalism (specifically tribal/ethnic bigotry) works against the integrity and security of the society. In the context that the thesis proposes, the present has constant recourse to the past, especially the ancestors, and engages in rituals which create ongoing, living links between human beings and the realm of the Yoruba Gods (Orisa).The outcomes are the documentation of a uniquely Yoruba theory of literary creativity, a new play based on Julius Caesar, and an original contribution to the broad field of postcolonial (Shakespeare) adaptations scholarship. 1 Acknowledgements Iba Olodumare----Olojo, Oyigiyigi, Atererekaye, ojiji-biri a ji p’ojo iku da! Iba Orisa----ile gbogbo nile orisa! Iba Eniyan----.aye to-o-to mo juba! ______________ Foremost, I acknowledge the generous financial support of the New Zealand government and the Victoria University of Wellington (VUW) through the Faculty of Graduate Research (FGR) for the Victoria Doctoral Scholarship that was awarded to me in 2012, including the Research Grant I received in 2014 and the Completion scholarship of 2016, which made it possible for me to conduct the PhD research in the university. At the Victoria University of Wellington, I was welcomed by a multi-talented staff of the Theatre programme who combines academic work and artistic ingenuity with rare sense of humanity and kindness. First, I acknowledge with utmost respect my supervisors: James Stuart McKinnon and Megan Evans, with whom I forged a relationship beyond mere supervision. While I will continue to cherish the memory of working with both of you (“learning from you” is actually the right expression), I will particularly mention Megan’s unusual openness and James’s “brotherly-support” ever since I arrived in Wellington. I also say my “Thank you” to Shannon Friday, for the warm hospitality I received while staying with you (and James) during the first month of my arrival in Wellington in the winter of 2013. My unalloyed gratitude to the Head of the School of English, Film, Theatre and Media Studies and distinguished award-winning international theatre director who also happened to be my University examiner, Associate Professor David O’Donnell; James Davenport for his knowing and encouraging words and smiles; the brilliant Shakespeare scholar and theatre director, Dr Lori Leigh; as well as Dr Nicola Hyland, Kerryn Palmer and Bronwyn Tweddle and the ever-reliable Cathy McCullagh. I thank Prof. Gbemi Adeoti of the Obafemi Awolowo University, Ile Ife, Nigeria and Dr. Mark 2 Houlahan of the University of Waikato, New Zealand; Prof Duro Oni; Prof Tunde Babawale (Chief Executive Officer), S.S. Bamikole and the entire staff of the Centre for Black and African Art and Civilization (CBAAC) for their many years of assistance. Concomitantly, I thank Dame Dawn Sanders (ONZM), the Chief Executive Officer, Shakespeare Globe Centre New Zealand (SGCNZ) and member, Shakespeare Globe Council, London; Brian Pearl and the entire members of the Shakespeare Society, New Zealand, for hosting me in May, 2016, at their monthly gathering where I presented a section of the thesis “Shakespeare in Africa” and excerpts from Emi, Caesar! In the same vein, I thank Brendan West, Kassie McLuskie and Morgan Hopkins, who acted in the excerpts and offered useful advice; my colleagues in the PhD programme, Dor Fadlon and Indranil Chakravarty; my friend and brother, Dr (Engr) Ramoni Adeogun and his family, my Sri-Lankan friend, Anas Sherifdeen and his wife, Fatima and importantly, my Iraqi friend, Tahir Nawaz, who did wonders! My gratitude flows like a river, endless on its path, to people who made my trip to New Zealand possible, even as they also strove to make my family comfortable at home in my absence. Still, I wonder why I am so blessed to know these people: Taiye Olaniyi, Dr Bosede Ademilua-Afolayan, Femi Olaiya, Nurudeen Alamu (Baba Lagbaji), Emmanuel Adetumbi (Obalola), and Wasiu Popoola. Olaniyi --- father, mentor, and confidant. I will forever remain grateful to you and your family, especially your wife, Mrs Kofoworade Olaniyi, and my brother and sisters: Tomiwa, Tejumade and Tolulope. I thank you for being “You”, one of the most distinguished individuals that I have ever met --- “Iyeru Okin, olofa mojo omo laare”-- -and perhaps will ever meet! Dr.Bosede Ademilua-Afolayan--- sister, friend, mother, and source of inspiration, all beyond a former lecturer. I have never met anyone so caring, so focused and so determined, even with a smile. This PhD was a DREAM... you were instrumental to its realization in many ways than you can think of! Femi Olaiya --- friendship akin to blood and flesh, soulmate, trusted ally. You broke the boundaries of friendship seeking instead something more glorious. “Thank you” is not enough!; Baba Lagbaji --- I will always be grateful....warafa nau makana aliyan!; Obalola --- great soul, intelligent being, compassionate, unique!; Wasiu (and Sherifat), your prayers are answered...in shaa Allah! 3 I will never forget you, Uncle Olu Adeniregun... “Thank you a million times”; Otunba Tunji Sotimirin (Shadow), a mentor and inspirer; and my childhood friend and first critic, Sola Martins Ikumelo, who led me straight to the Centre for Cultural Studies where the journey started. True friendship is sometimes found in the most unlikely places and among people that one least expected. Such is the case of Sesan Fasanu (Omo Yellow), Sumbo Saheed Bello, Kamar Adekunjo and Sola Adeyemi, who believe in me more than I ever believed in myself: “THIS IS IT...Thank you, my brothers for life!” I will not forget Seye Onatolu, Barney Obi-Abiezue and his family, Rotimi Agbebi Williams and my most committed younger friends (disciples): Habeeb Awoko Ayodeji, Aderemi Adegbite and Wale Lampejo. I thank you, Alagba Kehinde Salako and “Baba” Olatunji Iranloye, for your prayers and trust in my ability; and Dr Johnson Ademola Adewara, for your advice and brotherly love; Prof Danoye Oguntola-Laguda and Sina Ayodele of the Lagos State University, LASU, for the illuminating discussions we had on Yoruba rituals and the Orisa, as well as the useful comments you provided after reading a draft of my thesis. Similarly, I thank my informants: Chief Oluawo Akanni Sofolabo of Ijo Orunmila Adulawo, Somolu & the Reformed Ogboni Fraternity; O/I Canon Ifaniyi Babatunde Adetayo, the Apena Iledi Joel Ogunaike Adase & the Reformed Ogboni Fraternity; the distinguished thespian, Chief Priest Ademola Fabunmi of Ijo Orunmila Ato, Ebute Metta; and Babalawo Afolabi Ifasogbon (Afoo), the Chief Priest Otuku & Atuwara Heritage, Ota, respectively. I thank my mum, and brothers and sisters for their love and prayers. Last but by no means the least, I thank my wife, Ganiyat Oluwakemi Balogun (nee Adeyemo), the first true believer in my life, career, and self. I couldn’t have done this without you. Actually, this PhD is yours, not mine. Ire gbogbo, gbogbo ire! And to my lovely daughters: Queen Moremi Ololade (Moremscoco!); Princess Olamipo Abeebat (Ollykoko!); and Princess Kanyinsola Azeezat (Muyanmuyan!), who endured my years of travel and absence from home. I hope this PhD compensates for everything. THANK YOU! 4 Contents Abstract............................................................................................................... i Acknowledgements............................................................................................. ii Contents............................................................................................................... v List of Illustrations..............................................................................................
Recommended publications
  • The Evolution of Ibadan As the Largest Metropolitan Area in Nigeria

    The Evolution of Ibadan As the Largest Metropolitan Area in Nigeria

    THE EVOLUTION OF IBADAN AS THE LARGEST METROPOLITAN AREA IN NIGERIA By: ESV. TOMORI M.A. anivs, rsv. mnim MD/CEO Macos Urban Management Consultants E-mail: [email protected] ` Established For Urban Management Capacity Building and Good Governance 1.0 URBAN TRANSFORMATION HISTORY 1.1 Introduction Urbanization and city creation predates colonialism in many African countries. Apart from Egypt, where urban civilization dates back to 5,000 years, several cities in other African regions have centuries old Histories. Early urban development has been recorded during the Sudanese Empire of 800A.D. the Mali Empire of 1500A.D. and Songhai Empire of 1800A.D. These important historical artifacts, the cities, flourished as a result of their location along the trans-Sahara trade routes, emphasizing their importance as catalysts in socio-economic inter-relationships. Powerful local rulers enhanced the evolution of these early cities into effective nodes of human development and as engines of economic and social growth. Some of the prominent ancient pre-colonial cities of the region include: Bamako, Gao, Timbuktu, Ouagadougou, Agades, Begho, Benin, Ibadan, Ile-Ife, Ilorin, Kumasi and Oyo. The implications of urbanization are not appreciable from demographic numbers alone (World Bank in Cities in Transition, 2013). The urban transformation affects the physical concentration of people, patterns of land use, social structures and interactions, and the nature and scale of economic production. Each of these dimensions of change affects the lives of individuals and the requirements for resources and governance. This urbanization creates significant opportunities for national development, and for reducing poverty for all citizens. But realizing the potential gains from the urban transition depends on how well cities and towns manage growth and meet the challenges of providing responsive governance and ensuring services for all firms and households.
  • A Re-Assessment of Government and Political Institutions of Old Oyo Empire

    A Re-Assessment of Government and Political Institutions of Old Oyo Empire

    QUAESTUS MULTIDISCIPLINARY RESEARCH JOURNAL A RE-ASSESSMENT OF GOVERNMENT AND POLITICAL INSTITUTIONS OF OLD OYO EMPIRE Oluwaseun Samuel OSADOLA, Oluwafunke Adeola ADELEYE Abstract: Oyo Empire was the most politically organized entity founded by the Yoruba speaking people in present-day Nigeria. The empire was well organized, influential and powerful. At a time it controlled the politics and commerce of the area known today as Southwestern Nigeria. It, however, serves as a paradigm for other sub-ethnic groups of Yoruba derivation which were directly or indirectly influenced by the Empire before the coming of the white man. To however understand the basis for the political structure of the current Yorubaland, there is the need to examine the foundational structure from which they all took after the old Oyo Empire. This paper examines the various political structures that made up government and governance in the Yoruba nation under the political control of the old Oyo Empire before the coming of the Europeans and the establishment of colonial administration in the 1900s. It derives its data from both primary and secondary sources with a detailed contextual analysis. Keywords: Old Oyo Empire INTRODUCTION Pre-colonial systems in Nigeria witnessed a lot of alterations at the advent of the British colonial masters. Several traditional rulers tried to protect and preserve the political organisation of their kingdoms or empires but later gave up after much pressure and the threat from the colonial masters. Colonialism had a significant impact on every pre- colonial system in Nigeria, even until today.1 The entire Yoruba country has never been thoroughly organized into one complete government in a modern sense.
  • University of the Witwatersrand, Johannesburg South Africa

    University of the Witwatersrand, Johannesburg South Africa

    University of the Witwatersrand, Johannesburg South Africa Fagunwa in Translation: Aesthetic and Ethics in the Translation of African Language Literature A research report submitted to the Faculty of Humanities, University of Witwatersrand Johannesburg, in partial fulfillment of the requirements of the degree of Masters of Arts. MODUPE ADEBAWO Johannesburg 2016 Co-supervised by Isabel Hofmeyr and Christopher Fotheringham 1 DECLARATION I declare that this research report is my own, unaided work. It is being submitted in partial fulfilment of the requirements for the degree of Master of Arts at the University of the Witwatersrand, Johannesburg. It has not been submitted before for any other degree or examination at any other university. ________________________________________________________________________ Modupe Oluwayomi Adebawo. August 8, 2016. 2 ABSTRACT This study focuses on the aesthetics and ethics of translating African literature, using a case of two of D.O. Fagunwa’s Yoruba novels, namely; Igbo Olodumare (1949) translated by Wole Soyinka as In the Forest of Olodumare (2010) and Adiitu Olodumare (1961) translated by Olu Obafemi as The Mysteries of God (2012). More specifically, the overall aim of this study is to determine the positions of these target texts on the domestication and foreignization continuum. The study of these texts is carried out using a descriptive and systemic theoretical framework, based on Descriptive Translation Studies (DTS), Polysystem theory and the notion of norms of translational behaviour. The descriptive approach is extended by drawing on ideological and ethical approaches to translating postcolonial and marginalized literature. Lambert and Van Gorp’s model for the description of translation products is used in exploring the position of Fagunwa’s translated novels in the target literary system.
  • Othello and Its Rewritings, from Nineteenth-Century Burlesque to Post- Colonial Tragedy

    Othello and Its Rewritings, from Nineteenth-Century Burlesque to Post- Colonial Tragedy

    Black Rams and Extravagant Strangers: Shakespeare’s Othello and its Rewritings, from Nineteenth-Century Burlesque to Post- Colonial Tragedy Catherine Ann Rosario Goldsmiths, University of London PhD thesis 1 Declaration I declare that the work presented in this thesis is my own. 2 Acknowledgements Firstly, I want to thank my supervisor John London for his immense generosity, as it is through countless discussions with him that I have been able to crystallise and evolve my ideas. I should also like to thank my family who, as ever, have been so supportive, and my parents, in particular, for engaging with my research, and Ebi for being Ebi. Talking things over with my friends, and getting feedback, has also been very helpful. My particular thanks go to Lucy Jenks, Jay Luxembourg, Carrie Byrne, Corin Depper, Andrew Bryant, Emma Pask, Tony Crowley and Gareth Krisman, and to Rob Lapsley whose brilliant Theory evening classes first inspired me to return to academia. Lastly, I should like to thank all the assistance that I have had from Goldsmiths Library, the British Library, Senate House Library, the Birmingham Shakespeare Collection at Birmingham Central Library, Shakespeare’s Birthplace Trust and the Shakespeare Centre Library and Archive. 3 Abstract The labyrinthine levels through which Othello moves, as Shakespeare draws on myriad theatrical forms in adapting a bald little tale, gives his characters a scintillating energy, a refusal to be domesticated in language. They remain as Derridian monsters, evading any enclosures, with the tragedy teetering perilously close to farce. Because of this fragility of identity, and Shakespeare’s radical decision to have a black tragic protagonist, Othello has attracted subsequent dramatists caught in their own identity struggles.
  • The Legacy of Baale Irefin Ogundeyi (1912-1914)

    The Legacy of Baale Irefin Ogundeyi (1912-1914)

    - 1 - A) BACKGROUND HISTORY: Ogunlade from Owu was the father of Irefin Ogundeyi according to the family record dated 8/8/61. Kigbati Ogunlade came to Ibadan in the 19th century to join other Owus in the city with his wife. He came with his wife, his inlaw called Idowu. Others were, Adeola, an herbalist (Babalawo) and Ojo Ojawkondo who were friends to his wife. He also brought the father of Gbangbasa the father of Babajide. After the death of Ogunlade, his son Irefin Ogundeyi brought the father of Olaogun to Ibadan after the Kiriji war on arrival at Osogbo. Anisere also followed Irefin Ogunlade to Ibadan and handed him over to Aborisade of the same mother. According to the family, in 2017, Balogun Oderinlo allocated the land at Oke- Ofa to Pa Ogunlade and his son where Irefin Ogundeji built a beautiful palace. Irefin as Ekerin was then overlord of Gbongan town. Other chieftaincy titles of Irefin Ogundeyi from 1895 before he rose to the highest pinnacle of Baale of Ibadan (1912- 1914). His progressive chieftaincy rise was as follow: 1. When Osuntoki was the baale between 1895-1897 Irefin was the Asaju Baale 2. The same position when Fajinmi was Baale between 1897-1902 Irefin was Asaju Baale 3. When Captain F.C. Fuller in 1897 constituted the first members of the council, Irefin was not there. Members were: 1. Fajinmi - Baale 1. Akintola - Balogun 2. Mosaderin - Otun Baale 2. Bablola - Otun Balogun 3. Ogungbesan - Osi Baale 3. Kongi - Osi Balogun 4. Dada - Ekerin Baale 4. Apampa - Asipa Balogun 5.
  • EJOTMAS 28.Pmd

    EJOTMAS 28.Pmd

    EJOTMAS: EKPOMA JOURNAL OF THEATRE AND MEDIA ARTS 422 http://dx.doi.org/10.4314/ejotmas.v7i1-2.28 THE PRODUCER-ARTISTIC BUSINESS RELATIONSHIP: A MAJOR CONCERN FOR THE SURVIVAL OF THEATRE PRACTICE IN NIGERIA *Olatunji Samson SOTIMIRIN, Ph.D. Abstract This paper evaluates some of the perennial problems identified by scholars, writers and theatre practitioners as the bane of the growth and survival of theatre practice in Nigeria. These are inadequate funding, non-availability of befitting venues, economic and social insecurity, training and professionalism, orientation of the public sector, technological development, and so on. The central argument, however, is the issue of the business relationship between the producer and the professional theatre artiste. The paper contends that there are many issues concerning the artiste working and struggling to get paid, and artiste being exploited by producers without respectable reward. Consequently, in order to conquer these exploitative tendencies and lack of trust on the part of the producer, the paper submits that it is imperative that the artiste puts his/her professional relationship with the producer on a sound legal footing. This involves not only engaging the use of contracts constricted in agreement with good professional conventions, but also considering the need for the formation of recognized monitoring structures that will be responsible for guiding the actions and behaviour of practitioners. This ought to be done with a governmental support safeguarding the various theatre Associations and guilds as it is the case with other established Associations such as the Institute of Chartered Accountants, Society of Engineers, Nigerian Medical Association and so on.
  • Inequalities in Access to Water and Sanitation in Rural Settlements in Parts of Southwest Nigeria

    Inequalities in Access to Water and Sanitation in Rural Settlements in Parts of Southwest Nigeria

    Inequalities in Access to Water and Sanitation in Rural Settlements in Parts of Southwest Nigeria Isaiah Sewanu Akoteyon Abstract Access to water, sanitation, and hygiene is a major human right necessary for achieving Sustainable Development Goals. The study examined inequalities in access to water and sanitation in rural settlements covering Apa, Ikoga, Ibeshe, Itori, Eruwa, and Lanlate in parts of Southwest Nigeria. Purposive and random sampling techniques were employed to select six settlements and administered 400 questionnaires to households respectively. Descriptive statistics, chi-square, and factor analysis were employed for data analysis. The result shows that the majority of the households interviewed are adults with secondary school certificate. The major available water supply and sanitation facilities in the study area are boreholes and an open pit latrine. About 50.8% and 48.1% of the households gained access to improved water and sanitation respectively in the study area. Badagry and Ewekoro recorded the highest access for improved water and sanitation respectively. Only 8% of the households gained access to safe water supply in the study area. The sanitary condition in the study area is poor. The chi-square shows a significant relationship between the dependent variables (water sources/types of toilet facilities) and independent variable (marital status, age, and income) at p<0.01. Factor analysis explained 68.86% of the total variance and extracted five components. The five factors revealed three major factors namely; demographic, environmental and water source as the main factors affecting household access to water and sanitation. The study is significant because it contributes to knowledge in the areas of WaSH and environmental sustainability.
  • Integrative Theories of Medicine: a (W)Holistic Vision

    Integrative Theories of Medicine: a (W)Holistic Vision

    Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1994 Integrative Theories of Medicine: A (W)Holistic Vision Kathryn B. Forestal Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the Integrative Medicine Commons Recommended Citation Forestal, Kathryn B., "Integrative Theories of Medicine: A (W)Holistic Vision" (1994). Master's Theses. 3974. https://ecommons.luc.edu/luc_theses/3974 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1994 Kathryn B. Forestal LOYOLA UNIVERSITY CHICAGO INTEGRATIVE THEORIES OF MEDICINE: A (W)HOLISTIC VISION A THESIS SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF GRADUATE LIBERAL STUDIES BY KATHRYN B. FORESTAL CHICAGO, ILLINOIS MAY 1994 Copyright by Kathryn B. Foresta!, 1994 All rights reserved. ii ACKNOWLEDGMENTS I would like to express my gratitude to the members of my thesis committee: Dr. Cheryl Johnson­ Odim, Director, Dr. Ayana Karanja, and Dr. Paolo Giordano, Dept. Chairperson of Graduate Liberal Studies. This study could not have been completed without the assistance and research material of Dr. Norman R. Farnsworth,Director and Research Professor, Program for Collaborative Research in the Pharmaceutical Sciences, College of Pharmacy, University of Illinois at Chicago and his assistant, Mary Lou Quinn.
  • [1] Ui Thesis Olasupo A.A Yoruba 2015 Full Work.Pdf

    [1] Ui Thesis Olasupo A.A Yoruba 2015 Full Work.Pdf

    i YORÙBÁ TRADITIONAL RELIGIOUS WOOD-CARVINGS BY AKANDE ABIODUN OLASUPO B. A. (Hons.) Fine Arts ( ), M. A. Visual Arts (Ibadan), PGDE (Ado-Ekiti) A Thesis in the Department of VISUAL ARTS Submitted to the Institute of African Studies in partial fulfilment of the requirement for the Degree of DOCTOR OF PHILOSOPHY of the UNIVERSITY OF IBADAN UNIVERSITY OF IBADAN LIBRARY MAY 2015 ii ABSTRACT The Yorùbá -Yorùbá N O - - Yorùbá traditional religion and its attendant practice of wood-carving. Existing studies on Yorùbá wood-carving have concen -Yorùbá existed independently for a long time. This study, therefore, identified extant Yorùbá examined areas of divergence in the artistic production of the people. - wood-carvers, priests and adherents of some Yorùbá traditional religion who use wooden paraphernalia in their worship. Direct observation was used to collect data on iconographic features of wooden religious paraphernalia such as ọpón-Ifá (divination board), agere-Ifá (palm-nut bowl), ìróké-Ifá (divination board-tapper), osé-Ṣà Ṣà ‟ ère-ìbejì (twin figurines), and egúngún and gèlèdé masks. The interviews were content-analysed, while the paraphernalia were subjected to iconographic, semiotic and comparative analyses. UNIVERSITY OF IBADAN LIBRARY Opón-Ifá, agere-Ifá, ìróké-Ifá, osé-Ṣà and ère-ìbejì Gèlèdé ìróké-Ifá, agere-Ifá and osé-Ṣà shared similar iconographic fe by the top, middle and base sections. Their middle sections bore a variety of iii images, while the top and base sections were fixed. In all the three communities, the face of Èsù, usually represented on ọpón-Ifá, was the only constant feature on divination trays. Other depictions on the tray varied from zoomorphic and anthropomorphic to abstract motifs.
  • Olubadan's Unique Position in Yoruba Traditional History

    Olubadan's Unique Position in Yoruba Traditional History

    ESV. Tomori M.A. THE UNIQUE POSITION OF OLUBADAN’S IN YORUBA TRADITIONAL HISTORY By: ESV. Tomori M.A. anivs, rsv, mnim Email: [email protected] Tel: 08037260502 Oluwo of Iwoland, Oba Abdulrasheed Akanbi in his interview with Femi Makinde on January 1, 2017, Sunday Punch, raised a lot of issues concerning Ibadan Chieftaincy System, settlements of Yoruba refugees within his domain in the nineteenth century and his family background which linked Iwo to the cradle, Ile-Ife. There are good reasons why we should seek to expand our understanding of the past, because each of us is a product of history. The more we understand our past that brought us to where we are today, the better we are likely to understand ourselves, who we are and where we are going History needs to be, as indeed it is, re-written from time to time and past events revalued in the light of fresh developments and new ideas. The facts of history are not settled by verbal insults or mere ego-tripping. Historical knowledge and enlightenment cannot translate to controversies, if the purpose is to seek and break new grounds over historical dogma and make-belief accounts. Every historical account, like other fields of knowledge must draw its premises and conclusion from sound logic. The Oluwo of Iwo, Oba Abdulrasheed Akanbi, should know that historical accounts all over the world have been noted to have an evolutionary trend when previously held beliefs, opinions and concepts are demolished under the weight of more factual, verifiable and attainable revelations by new frontiers of knowledge.
  • Scholarworks

    Scholarworks

    \" " ENlYAN, THE NATURE OF BEING HUMAN: " / A NOTION CONCEIVED FROM ODU IFA A University Thesis Presented to the Faculty of California State University, Hayward In Partial Fulfillment ofthe Requirements for the Degree Master ofArts in Anthropology By Fe. Noell\niherd August, 2001 Copyright © 2001 by K. Noel Amherd 11 \. \. \. ENIYAN, TIlE NATURE OF BEING HUMAN: \I A NOTION CONCEIVED FROM ODU IFA By K. Noel Amherd Date: 111 Table of Contents Page Copyright. '" .. , " '" ... ... ... ... 11 Chapter One ,, " 1 Chapter Two , '" ,, ,. .. 9 Chapter Three ,, 28 Ese Ifa/Verses ofIfa ,, ,. 28 Constructing Personhood ,. 44 Chapter Four. , ,, ,. .. 78 Glossary... 85 Bibliography '" ,, , .. ... 87 IV 1 Chapter One The world and I have eyes in common, I use them to look at it, it uses them to look at me. If! weep, the world doesn't care. But ifthe world weeps into me, I flood my banks. Like an infant messing itselfwith food, I want to mess myselfwith the world's problems. Allover my face, my eyebrows, my shirt, my trousers, the tablecloth. The dress ofmy love, my mother, the mountains and the sky, all the people, the feet ofangels. ---Yehuda Amichai Let's do things with joy, Definitely, human beings have been chosen to bring good fortune to the world. ---Odu Irosunwori The birth ofthis inquiry emerges from a pluralistic womb; the fused perspective ofa religious and scholarly life. Prior to my attending graduate school and a desire to write this thesis, I had been initiated as a Babaldwo in the town ofOde Remo, Nigeria and was practicing, to the best ofmy knowledge and abilities, Yoruba religiosity in diaspora.
  • English51.Pdf

    English51.Pdf

    ndu Issue 51 April 2011 The People Want!? Yes, there has been deprivation, Yes, the people want. repression, and disdain! And the The people want the freedom to express, the freedom to believe, and people want…. the freedom to work. But, The people want justice, impartiality, and equality in legislations, Do people know how to attain what rulings, and the law, and in rights and duties. they want? What are their plans and The people want democracy in elections, politics, and decisions, tools? Who are their leaders? and in bearing responsibilities and liabilities, and in power and And do they know that behind their accountability. wants, there are people laying in The people want their bread and butter in dignity, and the people wait for them? want schools and universities, medications and healthcare, etc., and … Time-old experiences hold happy, all private and public matters. but also, many sorrowful moments! The people want safety, security, and well-being today and tomorrow, Khalil Mutran, the Lebanese poet, for them and their children. was right when he said, “Every The people want and want… to be “a human being created in the civilization creates its own Nero, image of God”! whether Cesar or Cyrus! This is what the people want; the good but the poor, the exploited, oppressed, and dream-deprived, the people, like flocks of sheep… Editorial Staff NDU Spirit A periodical about campus life at Notre Dame University - Louaïze. Editor-in-Chief Georges Mghames English Editor Kenneth Mortimer Reporting Tatiana Rouhana Arabic Typing Lydia Zgheïb Photographer Abdo Bejjani Layout & design Rebecca Mourani Print Meouchy & Zakaria (N.B.