Identity and Memory in Ȯmọbọyọdé Àrọwás Oríkì Performance in (Yoruba) Ekiti Dialect.
Oriki is a significant panegyric poetry in indigenous Yoruba communities of South-Western Nigeria. The different sub-generic forms which characterize its form, and its obvious ethnographic and anthropological histrionics constitute its thrust and aesthetic peculiarities. This paper sets out to exami...
| Publicado en: | African & Asian Studies Vol. 6; no. 1/2; pp. 173 - 201 |
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| Formato: | Artículo |
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Brill Academic Publishers
2007
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=ssf&AN=511297887&site=ehost-live header: @attributes: shortDbName: ssf uiTerm: 511297887 longDbName: Social Sciences Full Text (H.W. Wilson) uiTag: AN controlInfo: bkinfo: jinfo: jid: 15692094 KHJ jtl: African & Asian Studies issn: 15692094 maglogo: N pubinfo: dt: 2007 vid: 6 iid: 1/2 pid: 639 pub: Brill Academic Publishers artinfo: ui: 511297887 10.1163/156921007X180631 ppf: 173 ppct: 28 formats: fmt: @attributes: type: P db: hlh ui: 25295531 tig: atl: Identity and Memory in Ȯmọbọyọdé Àrọwás Oríkì Performance in (Yoruba) Ekiti Dialect. aug: au: Dasylva, Ademola Omobewaji su: Performance poetry sug: subj: Performance poetry keyword: Arowa, Omoboyode Yoruba (African people) -- Poetry ab: Oriki is a significant panegyric poetry in indigenous Yoruba communities of South-Western Nigeria. The different sub-generic forms which characterize its form, and its obvious ethnographic and anthropological histrionics constitute its thrust and aesthetic peculiarities. This paper sets out to examine Omoboyode Arowa's oriki performance, explores how she articulates the ethnographic cumpsychosocial knowledge of her environment, and subsequendy exploits the same to advantage. It further demonstrates how this, in turn, engenders her re-inscription of self in the performance under reference. Whereas a performer usually recites, sings, or chants a form of oriki, ÀrowĐas oriki performance in Ékiti dialect embraces varieties of oriki sub-types, giving her performance a more elaborate, and unique quality. Besides, the gender specificity noticeable in Arowa's performance in which as a woman chanter, she succeeds in negotiating a space for self re-inscribing, thereby qualifying her oriki corpus as one of the highly developed, complex, and most achieving form of oriki performances in indigenous Yoruba. It concludes that, in view of the findings, there is the urgent need for a new vigor and sense of commitment to the study of the oriki repertoire of individual performer for the purpose of ensuring its survival in a manner that makes its scholarship transcend its present boundaries, thereby making it serve new functions. Reprinted by permission of the publisher. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: N holdings: @attributes: islocal: N |
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