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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. -
What Was Life Like in the Ancient Kingdom of Benin? Today’S Enquiry: Why Is It Important to Learn About Benin in School?
History Our main enquiry question this term: What was life like in the Ancient Kingdom of Benin? Today’s enquiry: Why is it important to learn about Benin in school? Benin Where is Benin? Benin is a region in Nigeria, West Africa. Benin was once a civilisation of cities and towns, powerful Kings and a large empire which traded over long distances. The Benin Empire 900-1897 Benin began in the 900s when the Edo people settled in the rainforests of West Africa. By the 1400s they had created a wealthy kingdom with a powerful ruler, known as the Oba. As their kingdom expanded they built walls and moats around Benin City which showed incredible town planning and architecture. What do you think of Benin City? Benin craftsmen were skilful in Bronze and Ivory and had strong religious beliefs. During this time, West Africa invented the smelting (heating and melting) of copper and zinc ores and the casting of Bronze. What do you think that this might mean? Why might this be important? What might this invention allowed them to do? This allowed them to produced beautiful works of art, particularly bronze sculptures, which they are famous for. Watch this video to learn more: https://www.bbc.co.uk/bitesize/topics/zpvckqt/articles/z84fvcw 7 Benin was the center of trade. Europeans tried to trade with Benin in the 15 and 16 century, especially for spices like black pepper. When the Europeans arrived 8 Benin’s society was so advanced in what they produced compared with Britain at the time. -
Transnational Yoruba Revivalism and the Diasporic Politics of Heritage
KAMARI MAXINE CLARKE Yale University Transnational Yoruba revivalism and the diasporic politics of heritage ABSTRACT f an anthropological study of a “village,” however rendered, can pro- This article explores the making of social vide a statement about the world writ small, what message can the membership in U.S.-based deterritorialized contexts world at large offer to a small community constructed on the his- and interrogate the ways that black-Atlantic torical abyss of the triangular slave trade? Oyotunji African Village is diasporic imaginaries are intertwined to produce a Yoruba community in South Carolina created by black Americans transnational notions of linkage. In charting a Iwho, although born in the United States, have set the goal of reclaiming the genealogy of a transnational orisa movement that orisa-voodoo spiritual practices of Nigeria as their own.1 Although the site came of age in a moment of black-nationalist typifies the very small rural community that the sociological literature often protest, I pose questions about how such a study refers to as an “intentional community,” in the sense of providing a sepa- should be understood in relation to ethnographies of rate domestic arena both within and outside of a nation-state, it is neither global networks. I argue that, despite their a local village with regional community ties nor a homogenized population seemingly thin representations of broad forms of reducible to a single location. linkage, transnational orisa networks produce In this article, I discuss the significance of Oyotunji Village as a site within culturally portable practices that articulate networks of Yoruba revivalism throughout the United States and as a man- important transformations: They shape institutions ifestation of contemporary global mobilizations of orisa spiritualism. -
Art in Ancient Ife, Birthplace of the Yoruba
Art in Ancient Ife, Birthplace of the Yoruba Suzanne Preston Blier rtists the world over shape knowledge and ancient works alongside diverse evidence on this center’s past material into works of unique historical and the time frame specific to when these sculptures were made. importance. The artists of ancient Ife, ances- In this way I bring art and history into direct engagement with tral home to the Yoruba and mythic birthplace each other, enriching both within this process. of gods and humans, clearly were interested in One of the most important events in ancient Ife history with creating works that could be read. Breaking respect to both the early arts and later era religious and political the symbolic code that lies behind the unique meanings of Ife’s traditions here was a devastating civil war pitting one group, the Aancient sculptures, however, has vexed scholars working on this supporters of Obatala (referencing today at once a god, a deity material for over a century. While much remains to be learned, pantheon, and the region’s autochthonous populations) against thanks to a better understanding of the larger corpus of ancient affiliates of Odudua (an opposing deity, religious pantheon, Ife arts and the history of this important southwestern Nigerian and newly arriving dynastic group). The Ikedu oral history text center, key aspects of this code can now be discerned. In this addressing Ife’s history (an annotated kings list transposed from article I explore how these arts both inform and are enriched by the early Ife dialect; Akinjogbin n.d.) indicates that it was during early Ife history and the leaders who shaped it.1 In addition to the reign of Ife’s 46th king—what appears to be two rulers prior core questions of art iconography and symbolism, I also address to the famous King Obalufon II (Ekenwa? Fig. -
UC Irvine Journal for Learning Through the Arts
UC Irvine Journal for Learning through the Arts Title UNITY IN DIVERSITY: THE PRESERVED ART WORKS OF THE VARIED PEOPLES OF ABEOKUTA FROM 1830 TO DATE Permalink https://escholarship.org/uc/item/2fp9m1q6 Journal Journal for Learning through the Arts, 16(1) Authors Ifeta, Chris Funke Idowu, Olatunji Adenle, John et al. Publication Date 2020 DOI 10.21977/D916138973 eScholarship.org Powered by the California Digital Library University of California Unity in Diversity: Preserved Art Works of Abeokuta from 1830 to Date and Developmental Trends * Chris Funke Ifeta, **Bukola Odesiri Ochei, *John Adenle, ***Olatunji Idowu, *Adekunle Temu Ifeta * Tai Solarin University of Education, Ijagun, Ijebu-Ode, Ogun State, Nigeria. **Faculty of Law, University of Ibadan, Ibadan, Oyo State, Nigeria ** *University of Lagos, Lagos State Please address correspondence to funkeifeta @gmail.com additional contacts: [email protected] (Ochei); [email protected] (Adenle); [email protected] (Ifeta, A.) Abstract Much has been written on the history of Abeokuta and their artworks since their occupation of Abeokuta. Yoruba works of art are in museums and private collections abroad. Many museums in the Western part of Nigeria including the National Museum in Abeokuta also have works of art on display; however, much of these are not specific to Abeokuta. Writers on Abeokuta works of art include both foreign and Nigerian scholars. This study uses historical theory to study works of art collected and preserved on Abeokuta since inception of the Egba, Owu and Yewa (Egbado) occupation of the town and looks at implications for development in the 21st century. The study involved the collection of data from primary sources within Abeokuta in addition to secondary sources of information on varied works of art including Ifa and Ogboni paraphernalia. -
Textiles, Political Propaganda, and the Economic Implications in Southwestern Nigeria
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 9-2012 Textiles, Political Propaganda, and the Economic Implications in Southwestern Nigeria Margaret Olugbemisola Areo Obafemi Awolowo University, [email protected] Adebowale Biodun Areo University of Lagos, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Olugbemisola Areo, Margaret and Biodun Areo, Adebowale, "Textiles, Political Propaganda, and the Economic Implications in Southwestern Nigeria" (2012). Textile Society of America Symposium Proceedings. 657. https://digitalcommons.unl.edu/tsaconf/657 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Textiles, Political Propaganda, and the Economic Implications in Southwestern Nigeria Margaret Olugbemisola Areo [email protected] & Adebowale Biodun Areo [email protected], [email protected] The Yoruba of Southwestern Nigeria are renowned for their vibrant cultural environment. Textile usage in its multifarious forms takes a significant aspect in the people’s culture; to protect from the elements, to cloth the dead before burial, to honour ancestors in Egungun masquerade manifestations of the world of the dead as well as status symbol for the living1, to dress a house of funeral as done by the Bunni, a Yoruba tribe near Rivers Niger and Benue confluence,2 to record history when used in specially designed commemorative cloth for an occasion, as a leveler of status and to express allegiance when used as “aso ebi”, and in recent times as a propaganda cloth by political parties. -
Theatrical Visual Languages in Duro Ladipo's Three Yoruba Plays
1 CHAPTER ONE THE ORIGINS OF DURO LADIPO’S THEATRE Introduction There is no doubt that traditional Yoruba travelling theatre occupies a significant position in the sociocultural, political and religious milieu of the Yoruba people. This is because in most cases their ways of life, their world views and their being as a whole are commonly expressed through performance. This work seeks to investigate an aspect of Yoruba traditional theatre; this being the theatrical visual languages in the plays of Duro Ladipo - one of the most prominent of the 20th century Yoruba playwrights and actors. The need to embark on this work is motivated by the need to bring to light the intrinsic values contained in the visual theatrics of Duro Ladipo’s three Yoruba plays, namely Oba Koso,1 Oba Waja2 and Oba Moro3. The visual component of his plays takes one on a journey into understanding the aesthetics and expressions found in all aspects of Yoruba culture. It also explores the social, political and spiritual dynamics of Yoruba from an historical context and provides an extraordinary link into the life history of the avatars of Yoruba cosmology. The Eegun Alare (Alarinjo)4 theatre which is directly responsible for the birth of the Yoruba professional theatre, came out of the re-enactment of Yoruba legendary stories 1 Oba Koso means ‘the king did not hang’ in the Yoruba language, a term which refers to Sango, the legendary fourth king of Oyo and the Yoruba god of thunder and lightning. 2 Oba Waja is a term used for describing a deceased king in Yorubaland. -
Armlet, 1500S, Made in the Benin
Man’s Cloth, c. 1920 –70, made by the Ewe or Adangme culture, Ghana or Togo Armlet, 1500s, made in the Benin Kingdom, Nigeria Compare and Connect • What are some similarities and differences between the patterns featured on the carved ivory armlet and the woven cotton cloth? • How does the material and process used in the making of these patterned artworks influence the final designs that we see? Education Are there certain patterns that are better suited for the surface of a cylinder of ivory versus a two-dimensional woven cloth? philamuseum.org/education • What are some things that an artist can do when working with ivory that can’t be done when working with textiles, and vice versa? About the Artwork Man’s Cloth About the Artwork Armlet c. 1920 –70 1500s Ewe (ay-vay) woven cloths are typically worn for This intricately carved armlet was made for an Oba (king) of the Benin Kingdom and is important events such as funerals, puberty rites, Strip-woven cotton plain an incredible example of the skill of ivory carvers of the 1500s. It was one of a pair that Ivory weddings, and in celebration of newborns. Cloths weave (warp-faced and would have been worn on special occasions. Decorated with a repeating pattern of men Size: 5 1/16 × 3 5/8 × 3 like this one are handmade, labor intensive, and balanced) with continuous with mudfish feet grabbing fierce crocodiles by the tails, the armlet was originally adorned 9/16 inches supplementary wefts and quite expensive. They serve as both status with metal decorations that fit into the rounded shield-like shapes that fall in between the (12.8 × 9.2 × 9 cm) weft-faced rib weave symbols and symbols of identity for wearers. -
The Succession Dispute to the Throne of Lagos and the British Conquest and Occupation of Lagos
AFRREV, 10 (3), S/NO 42, JUNE, 2016 An International Multi-disciplinary Journal, Ethiopia Vol. 10(3), Serial No.42, June, 2016: 207-226 ISSN 1994-9057 (Print) ISSN 2070-0083 (Online) Doi: http://dx.doi.org/10.4314/afrrev.v10i3.14 The Succession Dispute to the Throne of Lagos and the British Conquest and Occupation of Lagos Adekoya, Preye Department of International Studies and Diplomacy Benson Idahosa University P.M. B. 1100, Benin City Edo State, Nigeria E-mail: [email protected] G.S.M. +2348027808770 Abstract This paper examined the role and intervention of the British in the internal family dispute relating to the succession to the throne of Lagos that began in the early nineteenth century. That the usuper to the throne of Lagos, Kosoko who was branded a notorious slave trader was abdicated from the throne on the account of his notoriety as a slave trade dealer by the British and his uncle Akintoye, who was also a known slave dealer was re-installed as the ruler of Lagos on the agreement that the British missionaries and traders were given free course unhindered in their operations, lives much to be wondered about. The paper argued that beyond the moves to discontinue the trade in slaves and Christianize the area, there was much more the motivation for entrenching the British economic foothold beginning with Lagos which offered a leeway into the interior and coastal areas and the eventual colonization of Nigeria. Key Words: Succession Disputes, Church Missionary Society, Foreign Office Copyright © IAARR, 2007-2016: www.afrrevjo.net Indexed African Journals Online: www.ajol.info 207 AFRREV, 10 (3), S/NO 42, JUNE, 2016 Introduction Lagos was a particularly attractive area for the British who had pinned great hopes on the city as the main gateway to the vast, unexplored opportunities of the Yoruba interior (Falola et al, 1991, p. -
Yoruba Culture of Nigeria: Creating Space for an Endangered Specie
ISSN 1712-8358[Print] Cross-Cultural Communication ISSN 1923-6700[Online] Vol. 9, No. 4, 2013, pp. 23-29 www.cscanada.net DOI:10.3968/j.ccc.1923670020130904.2598 www.cscanada.org Yoruba Culture of Nigeria: Creating Space for an Endangered Specie Adepeju Oti[a],*; Oyebola Ayeni[b] [a]Ph.D, Née Aderogba. Lead City University, Ibadan, Nigeria. [b] INTRODUCTION Ph.D. Lead City University, Ibadan, Nigeria. *Corresponding author. Culture refers to the cumulative deposit of knowledge, experience, beliefs, values, attitudes, meanings, Received 16 March 2013; accepted 11 July 2013 hierarchies, religion, notions of time, roles, spatial relations, concepts of the universe, and material objects Abstract and possessions acquired by a group of people in the The history of colonisation dates back to the 19th course of generations through individual and group Century. Africa and indeed Nigeria could not exercise striving (Hofstede, 1997). It is a collective programming her sovereignty during this period. In fact, the experience of the mind that distinguishes the members of one group of colonisation was a bitter sweet experience for the or category of people from another. The position that continent of Africa and indeed Nigeria, this is because the ideas, meanings, beliefs and values people learn as the same colonialist and explorers who exploited the members of society determines human nature. People are African and Nigerian economy; using it to develop theirs, what they learn, therefore, culture ultimately determine the quality in a person or society that arises from a were the same people who brought western education, concern for what is regarded as excellent in arts, letters, modern health care, writing and recently technology. -
Available Stanbic IBTC Bank Branches
Available Stanbic IBTC Bank Branches BRANCH OPENING OPENING S/N State Branch Name Branch Location CITY STATUS TIME 7, ABA-OWERRI ROAD P.M.B 7477, DAILY: 9AM - 1 ABIA ABA MAIN ABA ABA OPENED 3PM 7 DURU STREET OFF CEMETARY DAILY: 9AM - 2 ABIA ABA MARKET ROAD ABA OPENED 3PM 189, FAULKS ROAD, ARIARIA DAILY: 9AM - 3 ABIA ARIARIA MINI MARKET, ABA ABA OPENED 3PM 2 MARKET ROAD BY LIBRARY DAILY: 9AM - 4 ABIA UMUAHIA AVENUE, UMUAHIA UMUAHIA OPENED 3PM ABUJA SERVICE NO. 75, RALPH SHODEINDE DAILY: 9AM - 5 ABUJA CENTRE STREET ABUJA OPENED 2PM NNPC TOWER, HERBERT DAILY: 9AM - 6 ABUJA ABUJA-NNPC MACAULAY WAY, GARKI, ABUJA ABUJA OPENED 2PM AHMADU BELLO PLOT 149 AHMADU BELLO WAY, DAILY: 9AM - 7 ABUJA WAY AREA 11 GARKI ABUJA ABUJA OPENED 2PM DEIDE MARKET ROAD, OPPOSITE DAILY: 9AM - 8 ABUJA DEIDE MINI THE MARKET, DEIDE, ABUJA ABUJA OPENED 2PM INFINITY HOUSE, 11 KAURA DAILY: 9AM - 9 ABUJA GARKI (AREA 3) NAMODA STREET ABUJA OPENED 2PM GARKI MODEL PLOT CBN 2, LADOKE AKINTOLA DAILY: 9AM - 10 ABUJA MINI BLVD, ABUJA OPENED 2PM PLOT 415, SPECIALIST HOSPITAL DAILY: 9AM - 11 ABUJA GWAGWALADA ROAD GWAGWALADA GWAGWALADA OPENED 3PM 84/85 GADO NASKO WAY, KUBWA, DAILY: 9AM - 12 ABUJA KUBWA MINI ABUJA Kubwa OPENED 3PM PLOT 2777, CADASTRAL ZONE A6 DAILY: 9AM - 13 ABUJA MAITAMA P.M.B 337, ABUJA ABUJA OPENED 2PM NIGERIAN IMMIGRATION NIGERIAN IMMIGRATION DAILY: 9AM - 14 ABUJA SERVICE HEADQUARTERS, AIRPORT ROAD ABUJA OPENED 2PM SHOP 10, GRAND TOWER. ABUJA 15 ABUJA TOWER MALL MALL, APO, ABUJA ABUJA CLOSED CLOSED PLOT 37, EKUKINAM STREET, DAILY: 9AM - 16 ABUJA UTAKO BRANCH UTAKO ABUJA. -
The Yoruba Trickster God Author(S): John Pemberton Source: African Arts, Vol
Regents of the University of California Eshu-Elegba: The Yoruba Trickster God Author(s): John Pemberton Source: African Arts, Vol. 9, No. 1 (Oct., 1975), pp. 20-27+66-70+90-92 Published by: UCLA James S. Coleman African Studies Center Stable URL: http://www.jstor.org/stable/3334976 Accessed: 27-10-2016 14:24 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Regents of the University of California, UCLA James S. Coleman African Studies Center are collaborating with JSTOR to digitize, preserve and extend access to African Arts This content downloaded from 141.213.142.215 on Thu, 27 Oct 2016 14:24:20 UTC All use subject to http://about.jstor.org/terms Eshu-Elegba: TheYoruba Trickster God saying cited by Fadipe that "every head of mound of cement about two feet high A t the entrance of almost every com- pound in the Yoruba town of Ila- a compound must have an Eshu outside painted with vertical red stripes. A chunk Orangun, a chunk of red laterite rock his compound and the baale who does not of laterite rock is embedded in the top. It (yangi) protrudes from a hollow in the will have to give account to Eshu" (1970: is the palace shrine for Eshu to which of- base of the wall on the right side of the 285-6).