Knowledge (XXG)

Oríkì

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expresses what a child is or what he or she is hoped to become. If one is male, a praise name is usually expressive of something heroic, brave or strong. If one is female, the praise name may be a term of endearment. In either case, the Reverend Johnson said that it was intended to have a stimulating
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Praising gods and mortals has traditionally been the focus for singers and the most engaging for audiences, whether the tone is persuasive or controversial. Nigerian politicians often hire well-known singers to elaborate on their heritage. Today, Nigerian Christians and Muslims use oriki to praise
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The oríkì varies in length depending on whether it is the name given to a child to describe the future portents of the life or a recital of the accomplishments of a person's clan. It is invoked to praise a child for bringing pride to the parents or to attempt to evoke virtuous character traits of
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Because of the variety of performance modes, oríkì defies classification as music or poetry, and it has been studied from both perspectives. Historically, oríkì was delivered by a specialist in a particular vocal style. For example, ìjálá is acoustically open and intense, while ewì is spoken in a
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It is not always clear what was pre-eminent in the mind of the person who named a child with the shorter praise name. Predetermined names based on the circumstances of birth are called Oríkì ṣókí, such as the names for twins: Táiyé and Kẹ́hìndé. Traditionally, a boy born with the
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high-falsetto, wailing voice quality. According to Waterman, “The words that placate gods and drive kings to suicide made more potent by the patterning of timbre, texture, pitch, and rhythm.” According to Vidal, Yorùbás have oríkì for “almost everything . . . even food”.
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Barber, Karin; Waterman, Christopher (1995). "Traversing the Global and the Local: Fuji Music and Praise Poetry in the Production of Contemporary Yoruba Popular Culture". In Daniel Miller (ed.).
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names a boy or girl Àìná), but the name Òjó has praise poetry that does not even mention that but implies that the child would be the darling of ladies and might be a little impatient.
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from a strong, accomplished patriarch or matriarch, and it is common to find the latter's accomplishments recited in the longer version of the oríkì of all
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Eso of Ikoyi, the One who waits to fight, who finishes off the war with the care of one rubbing paint on a paved wall.
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sing for the Abrahamic god. They may pray for salvation if they hear the praise of indigenous Yorùbá gods such as
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Another particularly fine example of an excerpt from a family's oriki is that of the Supreme Court justice
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Examples of oríkì names and their meanings (F or M indicates whether the name is usually female or male):
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This excerpt highlights Justice Eso's descent from the famous Eso Ikoyi warriors of the medieval period.
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When Ojo is not home, the chick grows to become a hen, if he was at home, he would have made soup of it.
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of “attributive epithets” that may be chanted in poetic form. According to the Yoruba historian
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The History of the Yorubas: From the Earliest Times to the Beginning of the British Protectorate
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bravery, fortitude and perseverance that are believed to be innate in a person by pedigree.
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because many of them believe that traditional Yorùbá deities are demonic.
238: 117:Àlàké (F) - to take care of her as a result of victory over circumstance 565: 532: 190: 30: 26: 23: 524: 542:
Juju: A Social History and Ethnography of an African Popular Music
126:Àbèní (F) - begged for (from God or, more traditionally, the gods) 561: 141:Àjàní (M) - fought to have this child, valuable and cherished son 138:Àbèbí (F) - begged for to be birthed (probably a difficult birth) 94: 85:
around his neck is called Òjó (there are exceptions; the Ijebu
132:Àdùké (F) - people will fight over the privilege to spoil her 197:. An excerpt from praise poetry for the name Òjó would be: 511:
Vidal, Tunji’ (1969). "Oriki in Traditional Yoruba Music".
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Atunke (F) - One who would continually be taken care of
123:Àsàké (F) - selected to be spoiled (with good things) 433: 220:
Eso Ikoyi, Eso Aduroja, Apara Ogun bi eni pa'le....
223: 218: 206: 199: 381:sfn error: no target: CITEREFCarter-Enyi2018 ( 278: 466:Ajayi, JF Ade; Akinseye-George, Yemi (1962). 419:sfn error: no target: CITEREFCarterenyi2018 ( 400:sfn error: no target: CITEREFCarterenyi2018 ( 144:Àkànní (M) - met only once to have this child 8: 114:Àjoké (F) - meant to be taken care of by all 376: 362:sfn error: no target: CITEREFOlatunji1962 ( 16:Type of praise poetry in the Yoruba culture 414: 395: 150:Àkànde Àgàn (M) - favourite of the prince 506:. Ìbàdàn, Nigeria: University Press PLC. 357: 333: 319:sfn error: no target: CITEREFVidal2012 ( 302: 168:Ariyo (M) - One that brings joy on sight 129:Àríké (F) - meant to be spoiled on sight 120:Ànìké (F) - had (birthed) to be pampered 544:. Chicago: University of Chicago Press. 290: 266: 259: 147:Àjàgbé (M) - fought to carry this child 556:Isiri: Inspiration in Yoruba Language 497:. London: Cambridge University Press. 488:. London: Routledge. pp. 240–62. 345: 314: 162:Amoke (F) - Known about and cared for 7: 477:The Content and Form of Yoruba Ijala 203:t'o ba wa nle, a ti pa Iya e je.... 156:Àpèkẹ́ (F) - Called to be cared for 135:Àdùbi (M/F) - competed over to have 470:. Ìbàdàn, Nigeria: Spectrum Books. 14: 540:Waterman, Christopher A. (1990). 468:Kayode Eso: The making of a Judge 434:Ajayi & Akinseye-George 2002 241:, a similar concept amongst the 174:Àtànda (M) - lured to be created 171:Àshàbi (F) - selected to be born 461:. London: Hodder and Stoughton. 165:Ajadi (M) - the end of conflict 53: 504:Features of Yorùbá Oral Poetry 502:Olatunji, Olatunde O. (1984). 201:Ojo o si nle, omo adie d'agba 189:Usually, a family derives its 177:Ayoka (F) - One who causes joy 159:Adunni (F) - One sweet to have 57: 1: 475:Babalola, S. Adeboye (1966). 153:Àdìgún (M) - the perfect one 486:Dictionary of Modern Yoruba 459:Dictionary of Modern Yoruba 612: 479:. London: Clarendon Press. 279:Barber & Waterman 1995 493:Johnson, Samuel (1921). 457:Abraham, R. C. (1962). 227: 222: 210: 205: 69:effect on its bearer. 52:Oríkì includes both 54:single praise names 603: 545: 536: 507: 498: 489: 480: 471: 462: 444: 443: 431: 425: 424: 412: 406: 405: 393: 387: 386: 377:Carter-Enyi 2018 374: 368: 367: 355: 349: 343: 337: 331: 325: 324: 312: 306: 300: 294: 288: 282: 276: 270: 264: 611: 610: 606: 605: 604: 602: 601: 600: 571: 570: 552: 539: 525:10.2307/3334460 510: 501: 492: 483: 474: 465: 456: 453: 448: 447: 437: 432: 428: 418: 415:Carterenyi 2018 413: 409: 399: 396:Carterenyi 2018 394: 390: 380: 375: 371: 361: 356: 352: 344: 340: 332: 328: 318: 313: 309: 301: 297: 289: 285: 277: 273: 265: 261: 256: 247:Southern Africa 235: 202: 187: 108: 103: 50: 48:Characteristics 17: 12: 11: 5: 609: 607: 599: 598: 593: 591:African poetry 588: 583: 581:Yoruba culture 573: 572: 569: 568: 558: 551: 550:External links 548: 547: 546: 537: 508: 499: 490: 481: 472: 463: 452: 449: 446: 445: 426: 407: 388: 379:, p. 87). 369: 350: 338: 336:, p. 217. 326: 307: 295: 283: 281:, p. 241. 271: 269:, p. 481. 258: 257: 255: 252: 251: 250: 234: 231: 186: 183: 182: 181: 178: 175: 172: 169: 166: 163: 160: 157: 154: 151: 148: 145: 142: 139: 136: 133: 130: 127: 124: 121: 118: 115: 107: 104: 102: 99: 83:umbilical cord 62:Samuel Johnson 49: 46: 15: 13: 10: 9: 6: 4: 3: 2: 608: 597: 594: 592: 589: 587: 584: 582: 579: 578: 576: 567: 563: 560:Oriki Radio, 559: 557: 554: 553: 549: 543: 538: 534: 530: 526: 522: 518: 514: 509: 505: 500: 496: 491: 487: 482: 478: 473: 469: 464: 460: 455: 454: 450: 441: 435: 430: 427: 422: 417:, p. 90. 416: 411: 408: 403: 398:, p. 92. 397: 392: 389: 384: 378: 373: 370: 365: 360:, p. 68. 359: 358:Olatunji 1962 354: 351: 348:, p. 56. 347: 342: 339: 335: 334:Waterman 1990 330: 327: 322: 317:, p. 71. 316: 311: 308: 305:, p. vi. 304: 303:Babalola 1966 299: 296: 293:, p. 85. 292: 287: 284: 280: 275: 272: 268: 263: 260: 253: 248: 244: 240: 237: 236: 232: 230: 226: 221: 217: 215: 209: 204: 198: 196: 192: 184: 179: 176: 173: 170: 167: 164: 161: 158: 155: 152: 149: 146: 143: 140: 137: 134: 131: 128: 125: 122: 119: 116: 113: 112: 111: 105: 100: 98: 96: 90: 88: 84: 78: 74: 70: 67: 63: 59: 55: 47: 45: 43: 40:-speakers of 39: 35: 32: 28: 25: 21: 586:Poetic forms 541: 519:(1): 56–59. 516: 513:African Arts 512: 503: 494: 485: 476: 467: 458: 436:, p. 2. 429: 410: 391: 372: 353: 341: 329: 310: 298: 291:Johnson 1921 286: 274: 267:Abraham 1962 262: 228: 224: 219: 211: 207: 200: 188: 109: 91: 79: 75: 71: 65: 58:long strings 51: 19: 18: 42:West Africa 596:Panegyrics 575:Categories 451:References 346:Vidal 1969 315:Vidal 2012 214:Kayode Eso 106:Short form 87:subculture 34:phenomenon 185:Long form 239:Isibongo 233:See also 101:Examples 36:amongst 31:cultural 566:Last.fm 533:3334460 195:progeny 191:surname 29:, is a 531:  38:Yoruba 27:poetry 24:praise 562:Oríkì 529:JSTOR 254:Notes 243:Bantu 66:oriki 22:, or 20:Oríkì 440:help 421:help 402:help 383:help 364:help 321:help 95:Ògún 56:and 521:doi 245:of 577:: 564:, 527:. 515:. 216:: 64:, 44:. 535:. 523:: 517:3 442:) 423:) 404:) 385:) 366:) 323:) 249:.

Index

praise
poetry
cultural
phenomenon
Yoruba
West Africa
single praise names
long strings
Samuel Johnson
umbilical cord
subculture
Ògún
surname
progeny
Kayode Eso
Isibongo
Bantu
Southern Africa
Abraham 1962
Barber & Waterman 1995
Johnson 1921
Babalola 1966
Vidal 2012
help
Waterman 1990
Vidal 1969
Olatunji 1962
help
Carter-Enyi 2018
help

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