This paper is an attempt to situate Yorùbá proverbs, names, role-expectations, aspirations and consciousness towards building and contributing to the development of a national consciousness. The paper proceeds with a critical exposition of the general nature of Yorùbá proverbs, an exploration of the dialectical relationship between Yorùbá proverbs and names, and argues that this relationship instantiates a descriptivist theory of reference of names in the philosophy of language, with concluding particulars that critically espouses the values and virtues embedded in selected (...) Yorùbá proverbs and names. (shrink)

This paper proposes an Afroepistemological reading of the Ifá system. The policies of Western academic epistemology have disdained the traditiona African knowledge. Ifá has not been an exception. However, through this method a great deal of the socio-cultural and epistemological codes of Yorùbá society. So, Ifá becomes more important than a divination rite, because it represents socio-political and epistemological cohesion of a great proportion of the peoples of West Africa. This work vindicates this role and try to show epistemological complexity (...) of the system. (shrink)

Traditional Yorùbá culture admits the hegemonic locus that humans rank above all else on the planet. The outlook received decisive ratification several millennia ago in one of the Odùs of their Ifá Corpus. Specifically, in Odù Ògúndá Otura, one of the numerous chapters of the Ifá Corpus, Ọ̀rúnmìlà, the founder and primordial deity of Ifá discloses his authorization, the use of non-human animals for sacrifice and other human ends interminably. In this study, we engage the Ifá chapter that upholds this (...) outlook. We riposte that the age long supercilious perspective among the Yorùbá that humans rank higher and over non-human animals, as documented in the said Odù is no longer tenable on biological and moral-legal grounds. If the biological and moral-legal thrusts are not invalid, what framework is plausible when the interest(s) of non-human animals clash with the interest(s) of Ifá tradition and Yorùbá culture? On what basis will it be appropriate to jettison the interest(s) of the one for the interest(s) of the other? In the light of these posers, we employ Kai Horsthemke’s ethical individualism as the suitable groundwork that considers the interest of animals recommended for sacrifice in Ifá obeisance. (shrink)

This paper is a reflection on the puzzle of life after death. It explores the meaning, types and causes of death so as to contemplate the purpose of life. Thus, the paper takes into consideration metaphysical, moral and epistemic issues in the belief in life after death (or life after life). This exploration is done considering the Yoruba philosophy of death (iku), life (iye) and life after death (aye atun wa). We note that, for the Yoruba, life as (...) seen in the body is ephemeral, whereas death (that is, the separation of the soul from the body—iku ara) is a transitory process of life to a renewed life. The paper shows that the Yoruba’s idea of death is not an end to life but a change in its form. It is argued, then, that the Yoruba ontology has the implications that: (a) life is a continuum and, (b) man is not his body, (c) hence, a theory of immortality of the soul is implied. The paper observes that, though certain contradictions exist in the Yoruba worldview, the ethos of the belief seems significant. The paper examines the notions of imo (knowledge) and igbabo (belief) in Yoruba epistemology and thus advances the thesis that their belief in life after death cannot be corroborated, though not unreasonable. (shrink)

This article focuses on the religious information inside Ghanaian and Nigerian video movies regarding Akan and Yoruba women. More specifically, it focuses on the indigenous religious, Christian, and Islamic messages inside these movies in relation to women. The article demonstrates that Akan and Yoruba filmmakers, who dominate the Ghanaian and Nigerian video movie industries, are part of networks of religious institutions, predominantly Pentecostal-Charismatic Christian and modest Islamic ones. These organizations sponsor filmmakers to spread religious messages that promote hierarchical (...) gender relations and the suppression of equal rights for women, e.g., economic independence. By providing an overview of Akan and Yoruba belief systems, in respect of indigenous, Christian, and Islamic gender-related positional concepts and ideological communication on what is appropriate behavior for women, the author will show and support the hypothesis that these movies contribute to women’s demonization and (economic) discrimination. (shrink)

Studies of the professional travelling theatre in Nigeria have always focused on theatre troupes owned by men, thereby giving the impression that there were no troupes owned by women. The main objective of this paper is to identify factors responsible for the exclusion of women from Nigerian theatre studies, especially the female troupe leaders such as Adunni Oluwole, Funmilayo Ranco, and Mojishola Martins. This will be done through a comparative evaluation of their theatre works with that of their male counterparts (...) with a view to establishing gender issues in the modus operandi of men and women theatre. The study reveals a dichotomy in men and women’s theatre and how women challenged those dichotomies with different levels of success. Though the focus of this paper is on female travelling theatre leaders, other categories of women who worked in the theatre of that period will also be covered. The study of the various roles and status of these women demonstrates what it means to live and work as a theatre practitioner in a man’s world. The paper ultimately challenges the exclusion of these women from theatre studies in Nigeria. (shrink)

Ezumezu, a prototype African logic, developed by Jonathan Chimakonam as a framework which mediates thought, theory and method in the African place, is according to him, extendable and applicable in places non-African too. This seems to underscore the universal character of the logic. I interrogate, in this piece, the logic to see if it truly mediates thought, theory and method in Yorùbá ontology on the one hand, and process ontology on the other hand. Through critical analysis, I discern that each (...) of these thought systems operate beyond the principles of classical logic and this is one of the factors that have vitiated their appreciation and comprehension. Upon critical reflection, however, these thought systems seem to follow the principles of Ezumezu logic hence my aim – to disclose how the logic undergirds theory and method for each of those systems. Keywords: African Philosophy, Ezumezu Logic, Jonathan Chimakonam, Process Ontology, Yorùbá Ontology. (shrink)

Evil is an unpleasant reality which every cultural civilization grapples with. It is at the centre of the existentialist discourse, due to the fact that, in their view, it causes meaninglessness in human existence. In Yorùbá intellectual tradition, there are prescribed ways by which evil can be suppressed, including sacrifice (ẹbọ), good character (ìwà pẹ ̀lẹ ́) and inner head (Ori). However, these measures have certain fundamental implications when considered critically through the lens of existentialism. This is because, on a (...) closer examination, they are ultimately ineffective in the light of the reality of some higher forces, namely the Ajogun, headed by the Witches. These forces are believed to be irredeemably evil, because they have the power to render any of those measures impotent. This power, however, is believed to have been given to them by Olodumare. Accordingly, evil becomes what human beings cannot conquer, but have to live with. Consequently, we recommend, following Albert Camus, that human beings learn to live with the reality of evil, like the stone of Sisyphus. This is because any human attempt to take evil out of existence, by appealing to those measures, amounts only to Kierkegaardian “leap of faith”, which Albert Camus describes as a “philosophical suicide.” We substantiate the above claims by critically engaging some verses of Ifá which is believed to be the backdrop of Yorùbá philosophy. (shrink)

The family is a social group. Its characteristics are among other things; common residence, co-operation and reproduction. The family has always been considered to be the foundation or nucleus of the society; the most basic unit of its organization. The structure of the family varies according to each society. In pre-colonial era, the family as a social group among the Yorùbá, was a large unit, and extended in nature. They were bound together by the realization of having a common ancestor; (...) alájọbí. All the members of the family see one another as blood relations, as such incest was (and still is) a taboo. Apart from this, sexual relationship among the Yorùbá is heterosexual and permissible only in marriage; between husband and his wife/wives. Though extra-marital relationships are practiced, it is frowned at for men, but intolerable for women. Homosexuality is also a taboo; punishable by public disgrace, with culprits liable to excommunication from the society, especially if unrepentant. It cannot be totally ruled out that these anomalous relationships were not secretly engaged in by few non-conformists among the Yorùbá, before coming into contact with the West, the fact remains that the magnitude by which they are practiced in present times is alarming; threatening the harmony and cultural heritage of the Yorùbá. This fear is expressed in the literary genres of the Yorùbá, especially the film, which is the contemporary popular theatre of the Yorùbá of Nigeria and other tribes in Africa. This study examined sexual relationship among members of the family, in randomly selected Yorùbá films that have family-living as their major or minor themes; to know how affected is the stability of family (sexual) relationship among the Yorùbá. This is in the light of evolving modernity; with its individualistic life-style of people globally, as against the inherited communal social organization of the Yorùbá; built around the virtuous ọmọlúwàbí principle. The plausible reasons for the anomalous behaviors are also examined. Our findings are that prevailing strict traditional conditions, living in private homes as nuclear family, not being properly oriented in Yorùbá cultural values, increased exposition to Western lifestyles and its more relaxed societal expectations, and non-realization of the possibility of anomalous sexual behaviors as mental and biological issues that can be medically treated; are some of the reasons why such behaviors manifest, and are becoming prevalent. We have suggested communal encouragement with empathy, to seek medical assistance for and by the ‘diseased’ person. One finding here is that prevailing traditional conditions, ignorance, poor orientation and westernization present the anomaly mildly and make people not to see anomalous sex behavious as a mental disorder which requires medical attention. (shrink)

Rooth & Partee (1982) and Rooth (1985) have shown that the English-specific rule-by-rule system of PTQ can be factored out into function application plus two transformations for resolving type mismatch (type lifting and variable binding). Building on these insights, this article proposes a universal system for type-driven translation, by adding two more innovations: local type determination for gaps (generalizing Montague 1973) and a set of semantic filters (extending Cooper 1983). This system, dubbed Cross-Linguistic Semantics (XLS), is shown to account for (...) various phenomena — including scope relations in English and Greenlandic Eskimo, internally headed relative clauses in Lakhota, serial verbs in Yoruba and VP ellipsis in English. (shrink)

This article provides an overview of the contributions to philosophy of Nigerian philosopher Sophie Bọ´sẹ`dé Olúwọlé. The first woman to earn a philosophy PhD in Nigeria, Olúwọlé headed the Department of Philosophy at the University of Lagos before retiring to found and run the Centre for African Culture and Development. She devoted her career to studying Yoruba philosophy, translating the ancient Yoruba Ifá canon, which embodies the teachings of Orunmila, a philosopher revered as an Óríṣá in the Ifá (...) pantheon. Seeing his works as examples of secular reasoning and argument, she compared Orunmila's and Socrates' philosophies and methods and explored similarities and differences between African and European philosophies. A champion of African oral traditions, Olúwọlé argued that songs, proverbs, liturgies, and stories are important sources of African responses to perennial philosophical questions as well as to contemporary issues, including feminism. She argued that the complementarity that ran throughout Yoruba philosophy guaranteed women's rights and status, and preserved an important role for women, youths, and foreigners in politics. (shrink)

This article explores the history of Vodou from outlawed African dance to revolutionary magic to depoliticized national Haitian religion and popular dance, its present reduction to Diaspora interpersonal healing, and a possible future. My first section, on Kate Ramsey’s The Spirits and the Law: Vodou and Power in Haiti, reveals Vodou as a sociopolitical construction of racist legal oppression of Africana dances rituals, and artistic-political resistance thereto. My second section, on Karen McCarthy Brown’s Mama Lola: A Vodou Priestess in Brooklyn, (...) a “postmodern ethnography” of intersectional oppressions and Black female Haitian resistance in the Diaspora, foregrounds the figure of Gedelia, a feminist variant on Papa Gede, central Vodou spirit (lwa) of resurrection and healing. Finally, my last section, on the “observing participant” analyses of Black dance anthropologist Yvonne Daniel’s Dancing Wisdom: Embodied Knowledge in Haitian Vodou, Cuban Yoruba, and Bahian Candomblé, finds a dancing Gedelia in her centering of Oyá, a warrior spirit of storms and death. On this basis, I propose the figure of tornadic black angels as a possible magical tool (in Vodou, a pwen, or “point”) intended to re-spiritualize and thereby re-politicize the secularized and whitewashed social Latin dance called “salsa” for social justice. (shrink)

This paper sets out to demystify the nature of Nollywood movies existing in diversity and to propose new dimensions for using film to achieve behaviour change and a dependable national security in Nigeria. The paper views national security as the art of ensuring national safety of the government. Nollywood has naturally diversified along ethnic dimensions including the Hausa movies (Kannywood) in the North, the Yoruba movies in the West and the Ibo movies in the Eastern part of the Nigeria. (...) Others include the Akwa-Cross movies from the Southern part and the Tiv movies from the Middle Belt region of Nigeria. The paper adopts observation and analytical research methods depending on secondary sources. The paper finds out and concludes that Nollywood’s diversity is an opportunity to ameliorate some security challenges of the country and recommends the use of behaviour change focused themes which should be featured by Nollywood movie producers in Nigerian films produced along cultural, ethnic and regional boundaries. (shrink)

The significance of hair is deeply rooted in African ontology. It depicts leadership status and when shaved off completely, may sometimes signify mourning or lack of dignity. In Benin-city of Edo state in Nigeria, Chiefs who are mostly men are identified by their unique hair-styles. It shows their position of leadership in the society and when a king dies, all the men in the kingdom are expected to shave off their hair as a sign of respect for the departed king. (...) In the culture of the Yoruba people of Nigeria, hair is highly celebrated by the women as it is seen as a crown of glory upon their heads. With advancement in globalisation and cross-cultural relationships, the culture of hair and its ontological significances are gradually being eroded as expressed in Chimamanda Adichie‟s „Americanah‟. For this reason, the hair, being a very important symbol of cultural identity has become a key role in understanding the issues with identity crises in Africa. The paper analyses the ontological significances of hair in Africa, evaluates the issues involved in the misrepresentation of African hair as presented in some African literature as well as interrogates the issues of identity crises occasioned by African hair. (shrink)

It is widely believed that Nigeria consists of a minimum of 250 ethnic groups with Hausa, Yoruba and Igbo as the three dominant ones. Each group has its own language and custom and accepts one or more of the main religions of Christianity, Islam and African traditional religion. This multi-ethnic, multi-cultural, multi-lingual and multi-religious nature of the country makes the pursuit of national unity, unity in diversity, a difficult task. And this is the background for the disruption and violence (...) that have caused much of the displacement and internal migration in the country today. Whenever the parties to a communication act bring with them different experiential backgrounds that reflect a longstanding deposit of group experience, knowledge, and values, cross-cultural or intercultural communication is at play. This paper, therefore, explores the possibility of promoting national cohesion by means of cross-cultural communication in both its symbolic and linguistic forms. Concluding that if professionally applied, cross-cultural communication can enhance national integration, the paper recommends that Nigerians should understand cultural diversity, develop awareness of different cultures, and for this reason, introduce folkloristic (the study of folklore) and cultural history in primary and secondary school curricula. (shrink)

Abstract: Folktale is universal. It is found in all parts of the world. One of the outstanding characteristics of folktale is the possession of trickster. Trickster has different name in the tales of different ethnic groups of the world. In Hausa, he is “ereke”, in Yoruba he is “ijapa”, in Ashanti (Ghana) he is “ananse”, in Trinidad, he is fox, in other parts of Europe, he is either rabbit, monkey or hare etc. A trickster is often something of a (...) rogue. He manages to extricate himself from intrigue and sometimes saves himself from dangerous situation by a display of mental ability. The trickster of the folktales of the Igbo people of Nigeria is tortoise ‘Mbe’. Tortoise is not an outstanding animal. In the case of gathering of animals, he would least be noticed. There are large, ferocious, and beautiful animals that would make the presence of tortoise unnoticed. But when it comes to folktales, tortoise is the smallest among the characters. He so much defeats other characters by his deceptions. His greatest weapon is lies. Most of Igbo folktales are moral tales. They teach moral, yet trickster plays prominent role in the tales of Igbo people. In other words trickster is used in the education of the young. The writer investigated to find reasons for such development through reading books and journals relating to the topic. She studied six Igbo folktales and also through oral interviews of some prominent Igbo people of ages ranging from 20-70 yrs of age. The writer found out amongst other things that Igbo world view on life is responsible to the use of tricksters in their education of the young. (shrink)