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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. -
Heralding a New Enlightenment
Attributions and perspectives in Wole Soyinka and the Poetics of Commitment Emeka Aniago* Emeka Nwabueze (ed). Wole Soyinka and the Poetics of Commitment. Enugu: CNC Publishers, 2018. Pp. 341. In Wole Soyinka and the Poetics of Commitment, the editor Emeka Nwabueze has brought together in a volume a collection of thirty-two articles contributed by forty-two scholars. The articles in this book are reviewed and edited papers presented by the authors at the 2nd Chinua Achebe International Conference at the University of Nigeria, Nsukka with the term, ‘Wole Soyinka and the Literature of Commitment’ from 22nd to 25th May 2018. The essays in this book are grouped into seven sub-sections. The first group of essays titled ‘Wole Soyinka and the Creative Presence’ has three papers. In the first paper titled ‘Transcending the Limits of the Word: Soyinka, Discursive Strategies and the Perpetual Presence’, Emeka Nwabueze examines the nuances of change, particularly the ‘fear of change’ as captured in Wole Soyinka’s drama Death and the King’s Horseman in relation to the context of change as a form of final human transition. Thus, Nwabueze * Emeka Aniago ( ) Department of Theatre & Film Studies, University of Nigeria, Nsukka, Nigeria e-mail: [email protected] AGATHOS, Volume 11, Issue 1 (20): 469-477 © www.agathos-international-review.com CC BY NC 2020 Emeka Aniago points at the social cost of people’s refusal to continue with subsisting trado-cultural definition of natural order and destiny. Nwabueze also blames lack of courage to follow through an earmarked responsibility as the protagonist’s (Elesin) major hubris. -
Water in Yoruba Belief and Imperative for Environmental Sustainability
Journal of Philosophy, Culture and Religion www.iiste.org ISSN 2422-8443 An International Peer-reviewed Journal Vol.28, 2017 Water in Yoruba Belief and Imperative for Environmental Sustainability Adewale O. Owoseni Department of Philosophy, University of Ibadan, University of Ibadan Post Office, Nigeria Abstract The observation by scholars that the typical African people are often overtly religious in matters of interpreting reality demands a critical outlook with allusion to apt consideration of phenomena in relevant locale within the African space. The phenomenon of water has received copious attention worldwide and the need to consider this within an African nay Yoruba worldview is timely. The Yoruba of Southwestern Nigeria are wont to express that ‘water is the converge of good health, no one can despise it’ – omi labuwe, omi labumi, eni kan kii ba omi s’oota . This expression among other narratives convey a symbolic and paradoxical representation of water, which depicts the metaphysical dialectics of water in Yoruba belief. Basically, it renders the phenomenon of water as an entity that has the potency to vitalize and disrupt life-forms, given the beliefs regarding its place in relationship with certain animals like buffalo, fish and some endangered species, plants, trees as well as humans. Resultant impediments that fraught environmental order such as flood, draught and water borne diseases or outbreak in this regard are often linked to these beliefs. This is believed to be due to negating demands of the essential place of water by aberrant practices/acts, abuse, negligence of venerating ancestral grooves, goddesses or spirit. In lieu of this, this discourse adopts a hermeneutic analysis of the phenomenon and argues that the understanding of water in indigenous Yoruba belief is underscored by the dialectics of positive and negative causes that also impact the course of environmental sustainability. -
Translating Wole Soyinka's Works: a Must Know
TRANSLATING WOLE SOYINKA'S WORKS: A MUST KNOW Jide Timothy-Asobele, Department of European Languages, University of Lagos Introduction It takes the translation of the literature of a minority language into the languages of majority speakers, such as the European languages, for that minority language to produce a Nobel Prize Winner. This was the situation concerning Wole Soyinka, Nigeria's William Shakespeare, who won the Nobel Prize for Literature in 1986. That prize, in short, marked the crowning moment for negro-African literature. Let's say that that crowning of Africa as a country to be reckoned with in literature on 16 October 1986 by the Swedish Academy is significant in many respects. We are at last witnessing the recognition of the literature of a language of limited speakers, the African literature, by the literary nations of the West. It is important to also recognize the fact that Wole Soyinka, who in 1986, was the President of the UNESCO’s International Theatre Institute, has won other literary prizes in literature for the dissemination of the culture and the vision of the African world. This Nobel Prize facilitates a wide transmission of African arts through translations in foreign languages as these works have attracted the attention of the public worldwide. Thus, the works of Wole Soyinka epitomize great successes adorning various bookshops, both for English speakers and in other translations. Many theatre groups of the world need them. That is to say, that Soyinka's works are now performed all around the world in English and in other translations, in theatres in Europe, Asia, Russia, USA, South America, China, Japan, etc. -
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. -
ALAIANDÊ Xirê DESAFIOS DA CULTURA RELIGIOSA AFRO-AMERICANA NO SÉCULO XXI ORGANIZAÇÃO VAGNER GONÇALVES DA SILVA ROSENILTON SILVA DE OLIVEIRA JOSÉ PEDRO DA SILVA NETO
ORGANIZAÇÃO VAGNER GONÇALVES DA SILVA ROSENILTON SILVA DE OLIVEIRA JOSÉ PEDRO DA SILVA NETO ALAIANDÊ XirÊ DESAFIOS DA CULTURA RELIGIOSA AFRO-AMERICANA NO SÉCULO XXI ORGANIZAÇÃO VAGNER GONÇALVES DA SILVA ROSENILTON SILVA DE OLIVEIRA JOSÉ PEDRO DA SILVA NETO ALAIANDÊ XIRÊ DESAFIOS DA CULTURA RELIGIOSA AFRO-AMERICANA NO SÉCULO XXI ORGANIZAÇÃO VAGNER GONÇALVES DA SILVA ROSENILTON SILVA DE OLIVEIRA JOSÉ PEDRO DA SILVA NETO DOI: 10.11606/9786550130060 ALAIANDÊ XIRÊ DESAFIOS DA CULTURA RELIGIOSA AFRO-AMERICANA NO SÉCULO XXI São Paulo 2019 Os autores autorizam a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fns de estudo e pesquisa, desde que citada a fonte. Universidade de São Paulo Reitor: Vahan Agopyan Vice-reitor: Antonio Carlos Hernandes Faculdade de Educação Diretor: Prof. Dr. Marcos Garcia Neira Vice-Diretor: Prof. Dr. Vinicio de Macedo Santos Direitos desta edição reservados à FEUSP Avenida da Universidade, 308 Cidade Universitária – Butantã 05508-040 – São Paulo – Brasil (11) 3091-2360 e-mail: [email protected] http://www4.fe.usp.br/ Catalogação na Publicação Serviço de Biblioteca e Documentação Faculdade de Educação da Universidade de São Paulo A316 Alaiandê Xirê: desafos da cultura religiosa afro-americana no Século XXI / Vagner Gonçalves da Silva, Rosenilton Silva de Oliveira, José Pedro da Silva Neto (Organizadores). São Paulo: FEUSP, 2019. 382 p. Vários autores ISBN: 978-65-5013-006-0 (E-book) DOI: 10.11606/9786550130060 1. Candomblé. 2. Cultura afro. 3. Religião. 4. Religiões africanas. I. Silva, Vagner Gonçalves da. II. Oliveira, Rosenilton Silva de. III. Silva Neto, José Pedro. IV. Título. -
Rereading Beier
The African e-Journals Project has digitized full text of articles of eleven social science and humanities journals. This item is from the digital archive maintained by Michigan State University Library. Find more at: http://digital.lib.msu.edu/projects/africanjournals/ Available through a partnership with Scroll down to read the article. g Beier Wole Ogundele The name Ullwais well-knowBeien in the rEnglish-speaking and German-speak- ing worlds from the 1950s to the 1970s. Especially in the 1950s and'60s. It was invariably linked with that of Susanne Wenger, the Austrian artist who was his first wife. So famous was this man who had been working and residing in one West African corner of the British empire that when he left Nigeria in 1966 December for Papua New Guinea, no less a magazine than the TLS announced it. Among the Yoruba of western Nigeria, his name and Susanne's have entered folklore while he himself has been transformed into a fictional character in at least two African novels in English. Indeed, so much was he on everybody's lips in Nigeria in those days that his second wife, Georgina, heard about him long before she met him. Living in the far-away northern Nigerian town in Zaria in the early 1960s, she had heard so much about him and had made it a point of duty to meet this man whose name was on everybody's lips whenever she went down south. In due course, she and her first husband took a trip to Lagos. Their car broke down in one of the obscure streets and as they were standing around notknowing what to do, two white gentlemen saw them and stopped to offer help. -
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. -
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. -
Ritual and Revolution: Soyinka^S Dramatic Theory
Ritual and Revolution: Soyinka^s Dramatic Theory DEREK WRIGHT IN A NOTE to the director of his adaptation of The Bacchae, quoted in his collected essays Art, Dialogue and Outrage, Wole Soyinka wrote: "Ritual equates the divine (superhuman) dimen• sion with the communal will, fusing the social with the spiritual" ( 71 ). These terms are, in fact, dramatically equitable only through the rather artificial link between religious ecstasy and political revolution in this particular play. Yet the idea of ritual (notably, the ritual of transition) as the meeting point of divine and human, spiritual and social, dominates Soyinka's metaphysical theory, his general view of man, and the concept of tragic drama which he extrapolates — a distillation of essences rather than a derivation of particulars — from the consecrated component of cultic "Mys• teries" of Ogun rites. Ogun, the pathfinder deity who bridged the abyss between gods and men, is himself the god of transition, the archetypal crosser of boundaries; and Soyinka, in his highly per• sonal reading of Yoruba myth and ritual in Myth, Literature and the African World, finds something of him in all dangerous, ex• ploratory passages, in all crises of change and confrontation, or wherever there is transition from one dimension of reality to another, whether of nations at the brink of creation or of indi• viduals at the edge of a personal unknown : "stripped of excrescen• ces," man is taken over by "transitional memory" and "intimations rack him of that intense parallel of his progress through the gulf of transition" (149). In extremis, he is again Ogun; his life, transition. -
Wole Soyinka Project
THE WOLE SOYINKA PROJECT TRUTH, MEMORY AND RECONCILIATION A Student Dialogue February 20, 2002 Presented by THE ECHO FOUNDATION Hosted by Providence High School 1800 Pineville-Matthews Road Charlotte, NC Sponsored by The Echo Foundation offers these resource materials and collection of essays as an inspiration to you who share the next generation. We challenge you to search each day for opportunities to weave lessons of compassion, respect for all people and ethical decision making into every subject area; to teach children not to be indifferent to the suffereing of others and to take a stand for justice; to believe in themselves, that they too have the power to make a difference…indeed, that it is their moral obligation to do so. Stephanie G. Ansaldo Founder and President WOLE SOYINKA “From within the same continent, two strategies of confrontation with one’s history. They are offsprings of the same age, sprung from minds of a shared identity, and they appear to complement yet contradict each other. Both depend on a process of baring the truth of one’s history in order to exorcise the past and secure a collective peace of mind, the healing of a bruised racial psyche. Both concepts even appear to play a game with each other—in the mind at least—since some form of mental reconciliation appears to be provoked for their cohabitation. How on earth does one reconcile reparations, or recompense, with reconciliation or remission of wrongs? Dare we presume that both, in their differing ways, are committed to ensuring the righting of wrongs and the triumph of justice?” Wole Soyinka Nobel Literature Prize, 1986 From his collected essays, “THE BURDEN OF TRUTH, THE MUSE OF FORGIVENESS” THE WOLE SOYINKA PROJECT: Truth, Memory and Reconciliation Table of Contents Foreword…………………………………………………………………………………..