Showing posts with label culture. Show all posts
Showing posts with label culture. Show all posts

Wednesday, March 6, 2024

6 Important Yoruba questions to learn Yoruba

6 Important Yoruba questions to learn Yoruba

Here goes!



*A quick note: the phrases will be without tones until I can get some clarification as to what they are. 





Please forgive my beginner learner ways!*





Kilo de? [Why?]




Kilo de ti…? [Why…?]




Ki ni…?/ Kilo…? [What…?]




Bawo ni…?/Bawo l’…? [How…?]




Nigba wo ti…? [When…?]




Aago meloo ni…? [What time/ when…?]




Tani…? [Who?]




Tani e? [Who is that?]




Nibo…wa? [Where is…situated?]




….da? [Where is…?]




…wo ni…? [Which…do…?]




As you can see, far more than 6 Ws, but nonetheless super useful. 






These should get you on your way to asking some questions. 




I believe these days I have been improving a lot, but I don’t know everything, so when in doubt I bring in the English.




 I use phrases and vocabulary that I am certain of in conversations with my parents and ended with sentences that are a Yoruba/English hybrid, to avoid frustrations.





For example,

Kilo dé ti ẹ fẹ́ call orẹ́ yín?

[why do you want to call your friend?]

It is not perfect but I move forward this way.




Anyways, I hope you are enjoying this

Monday, March 4, 2024

All about Igogo Festival in Owo

All about Igogo Festival in Owo

Six hundred years ago, Olowo, the King, fell in love with Orensen, a very beautiful woman.




 Unfortunately for the King, she was a goddess who could not live with a human. She was forbidden to see women pounding spices, draw water, or throw a bundle of wood to the ground.






Because of his love for the goddess, and in order to marry her, the King promised her that his other wives, in front of her would follow these same restrictions.





 After several years, the King’s wives became jealous and revolted. They did everything they were not supposed to do in front of the goddess, who then cast a spell upon the entire kingdom. 





The goddess promised that people of Owo, would die of famine or sickness if the King and his chiefs did not celebrate every year a ceremony in her honor. The drums should beg her pardon and sing her praises. One also had to offer her a sacrifice of a man and a woman.






This ceremony, IGOGO,[IGOGO FESTIVAL] still exists, but the human beings have been replaced by a sheep and a goat.





This is an annual festival in Owo which lasts a total of 17 days featuring a number of ceremonies including the blessing and release of new yams. 




The festival is in commemoration of the king’s wife who turned into a tree while being pursued by the king’s slave to return to the palace after her rival violated her taboos in her presence.





The Olowo, usually during this festival dresses in Coral Beaded Crown and in addition plaits his hair like a woman. It could be seen here that Owo has some traditional linkage with Benin.







The Olowo leads his people including the Chief Priest and the male youths from Iloro quarters to dance round the whole town. During this 17 days period of celebration, drumming is banned in Owo and instead, metal gongs (Agogo) are used. This was where the name ‘IGOGO’ was coined.






The Igogo festival which comes up in September annually is a cultural display of the culture of the people with its main aim as to align youths with the cultural norm of the land.

The importance of Yoruba carved mask

The importance of Yoruba carved mask

Yoruba masks are worn by a traditional healer to drive evil spirits from the possessed person. 




The arts of the Yoruba are numerous in form, Beautifully sculptured and or carved art pieces are placed on shrines to honor the gods and the ancestors. 




Varied masking traditions have resulted in a great diversity of mask forms. Beautiful sculpture abounds in wood and brass and the occasional terracotta.




Yoruba Tribal Art has a significant and mystical history. The masks form an important part of ceremonies, rituals, initiations, celebrations and secret communities. 





The use of African masks typically includes song, prayer, and dance. It is for this reason that the mask can be viewed as an obvious work of sculpture art, but because of its function, it is also considered a performance art form. Yoruba masks are mainly crafted from wood. 





They are often decorated with paints, cowrie shells, colored glass, nails, plant fibers, horns and metal pieces.





Yoruba Tribal Art has a significant and mystical history. The masks form an important part of ceremonies, rituals, initiations, celebrations and secret communities. 





The use of African masks typically includes song, prayer, and dance. It is for this reason that the mask can be viewed as an obvious work of sculpture art, but because of its function, it is also considered a performance art form. Yoruba masks are mainly crafted from wood. 






They are often decorated with paints, cowrie shells, colored glass, nails, plant fibers, horns and metal pieces.






The actual carving of these masks and figures is a very deliberated act, which begins with the artist ceremonially purifying himself, than offering a prayer to the ancestors and asking for proper guidance from the divine forces. 





The object will then be inhabited by the divine force. The spirit of the tree used to create it, will be sacrificed, cut down and left for a couple days, so that the spirit of the tree can leave to find a new home.




 After this period is over, the artist will take the tree home and begin to carve it into a mask or a figure. If the tree cracks during this time, it can not be used .



Yoruba masks are generally representative of some sort of spirit, and this spirit is believed to possess the dancer as they wear the mask.





 This dancer is chosen either because they have been trained specifically for this purpose or because they have demonstrated abilities to extraordinarily communicate with the deceased ancestors.





 Masking ceremonies involves the chosen dancer speaking and hearing from the ancestors. 





This happens as the dancer goes into a trance like state. The purpose is often to receive the guidance and wisdom from the ancestors, or to tell a story or play out a message of the peoples history. 






The messages received, comes out of the dancer as utterances and moans. The translation is provided by a wise man, who accompanies the dancer and deciphers the grunts and utterances.




The love of music, song and dance always plays a central theme in the ceremonies and rituals. 



These rituals and ceremonies may depict obviously the ancestors, but also the dead, the spirit of animals and other supernatural beings. 





During initiation ceremonies, the masks worn, depict an ancestor. The purpose would be to gain favor and to be received into the tribe as a vital member.





Yoruba masks, ceremonies and rituals where once a very important and central part of African culture and life and it is in some villages still nowadays. 




As time has passed, modernization, colonization, heavy migration into the cities and out of the countryside and small villages have made these rituals and ceremonies rarer occurances.





 However, Yoruba masks still live on through use, new artists, museums and art collectors. They remain symbols of a time past, a rich history, and the religious and the cultural holdings of a people.

The criteria for the selection of Are Ona Kakanfo

The criteria for the selection of Are Ona Kakanfo

The criteria for the selection of Are Ona Kakanfo 



To be the Are Ona Kakanfo, you must be a great warrior and very courageous.



 The creation of the title stopped the invasion of Yorubaland by external aggressors. 




The Are Ona Kakanfo was so powerful and invincible that he would fight several wars at the same time.



 He never lost any battle. Due to his power, the Alaafin would not allow him to live in the same town with him.



 The Aare Ona Kakanfo normally lives in a commercial city.



The selection involves several rituals and there have been speculations that the last two Kakanfos did not complete the ritual circles. 



Samuel Johnson in his book treatise on the Kakanfo stated that the Kakanfos are always shaved, but the hair on the inoculated part is allowed to grow long, and when plaited, forms a tuft or sort of pigtail, adding that Kakanfos are generally ‘very stubborn and obstinate.




They have been more or less troublesome, due to the effect of the ingredients they were inoculated with. In war they carry no weapon but a weapon known as the King’s invincible staff.’ 




It is generally understood that they are to give way to no one not even to the King, their master.



 Hence, Kakanfos are never created in the capital but in any other town in the Kingdom.




Kakanfo is akin to a field marshal and is conferred upon the greatest soldier and tactician of the day.




 ‘By virtue of his office he is to go to war once in 3 years to whatever place the King named, and dead or alive, to return home a victor, or be brought home a corpse within three months. 




Kakanfo usually has certain ensigns: The Ojijiko, and a cap made of the red feathers of the parrots tail, with a projection behind reaching as far down as the waist, an apron of leopards skin, and a leopard skin to sit on always the Asiso or pigtail and the Staff invincible.
Regency in Yoruba land

Regency in Yoruba land


Regency, a practice, whereby a princess is allowed to occupy the throne until a substantive king is installed, is presently practiced in some states in yorubaland. In yoruba tradition, regency is designed to honor the first daughter of every Oba/king/High chief who died on the throne. 




However, such honor is not extended to any Oba who was banished. There have been instances in Akure history when two Regents have refused to quit and they went ahead to be confirmed as the Deji for many years.




in yorubaland. In yoruba tradition, regency is designed to honor the first daughter of every Oba/king/High chief who died on the throne. However, such honor is not extended to any Oba who was banished. 




There have been instances in Akure history when two Regents have refused to quit and they went ahead to be confirmed as the Deji for many years.





The Regent is supposed to be an interim Oba in the real sense of it. She enjoys all the honor and privileges attached to the office of the Oba and she has to dress as a man for the period she is Regent.




 Because she has worn a crown, she is is never again required to expose her head or get careless with any strands of her hair if she ever goes to a Beauty Salon after leaving the throne. She must never again carry anything on her head for the rest of her life.




Tradition has it that a married woman or a single lady should be made a Regent instead of a male, for it is assumed that a male might not want to leave as he may transform himself to be king .It had happened in one of the towns before. But if a married woman or spinster is enthroned she will be yearning to go back to her husband and family while a spinster will be yearning to get married and start a new life with her own family.





The Regent is to all intent and purposes the Oba-in-Council in and she automatically takes precedence over the all the chiefs and they are subservient to the Regent and must swear traditional allegiance and loyalty to the Regent as an Institution. From Igbona-Ekiti in Ikole Local Government Area to Erio-Ekiti in Ekiti west and Awo-Ekiti, in Irepodun-Ifelodun Local Government Area, regents currently hold the fort, even if temporarily, as kings on the thrones of their fathers, occasionally giving orders, settling disputes, attending community and state functions and filling other spaces within the communities as needs often compel.






While some communities are said to choose males as regents, the more common and familiar are the females who are the direct daughters of recently deceased monarchs. Findings showed that males are seldom made regents because of the possibilities of a refusal to vacate the throne when a substantive monarch is installed, causing a situation in which two monarchs lay claim to one royal stool.





Further findings reveal that the regents, who are sometimes known even before the demise of a sitting monarch, are there mainly for titular purposes and for a short time till another monarch is selected and installed. It was also found out that in actual fact, the administrative running of the towns still solely rests with the chiefs as a regent might have one personal reason or the other to be away.





According to Yoruba tradition, the moment a princess ascends the throne and as long as she remains the regent, she is no longer regarded as a woman and she is expected to appear always like a man, but she is only allowed to wear the round beaded crowns, unlike the male kings who have various crowns designed and decorated with beads which may fall over their faces.





The faces of the regents must not be covered and the beads on the neck, falling on their chest must not be more than three and graduated in three layers, although this varies in some communities. But, the beads of the Obas, though of the same length could be more than three.






Regents cannot undertake during the regency any installation of chieftaincy titles, removal of erring chiefs on any excuse and registration of chieftaincy declarations.






The Regency concept is not universal in Yorubaland. There was no Regent in Ijebu Land before the current Awujale, Ogbagba the second was coronated. Same in Lagos after Oba Adeniji Adele or Oba Oyekan joined their ancestors. So also in Ile Ife after Oonirisa Atobatele Sir Adesoji Aderemi left, and Kabiyesi Sijuwade took over.






There was no Regent in Oyo Alaafin where the Oyo Mesi reign supreme. Same for the Owa Obokun of Ilesha after the demise of Owa Obokun Agunlejika and before Oba Aromolaran took over. There was no Regent in Owo after Ekunwolu, Oluaiye Olateru Olagbegi answered the call.

There was no Regent in Idanre following the transition of Kabiyesi Owa Arubiefin.






However, there are few towns in Ekitiland and other places where they had Regents in their traditional system. Certainly in Ado Ewi and Iropora and Oba Ile near Akure, the tradition is fully observed. In the case of Akure, we have had two Regents who have refused to quit after serving out their term as Regents. The were both powerful women of substance with a lot of medicinal and spuritual power.






One of them became the 13th Deji of Akure. Her name was “Eyearo” She reigned for 26 years from 1393 to 1419. The second one became the 25th Deji. Her name is “Eyemoin.” She reigned for 30 years from 1705 to 1735. We are able to talk about them today because their reigns were properly documented.