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694 documents across 38 sections. Filter by section, reader level, confidence or tag.
Ori as physical head, inner head, personal destiny and personal divinity, why the sources rank ori above the orisa, and the practice of ibori.
Character as the whole content of Yoruba ethics, iwa pele and iwa rere, the identity of character with beauty, patience as the source of character, and an ethical system grounded in consequence and community rather than divine command.
The concept that runs from "so be it" at the end of a prayer to the force by which anything happens at all, why both "power" and "life force" are inadequate translations, and how ase works in speech, ritual and art.
The river orisa of Osogbo, the seventeenth of the orisa sent to earth and the one whose exclusion made the work fail, the founding covenant of a town, and the largest surviving Yoruba festival.
The criteria Yoruba critics actually use to judge a carving, why the language and its praise poetry are the entry point rather than the ornament, and what goes wrong when European art-historical categories are applied to this material.
The rulers of Ọ̀yọ́ from the height of the empire to its collapse and refounding, including Bàṣọ̀run Gàhá who ruled through them, the curse of Aláàfin Awólẹ̀, and the move to New Ọ̀yọ́ under Àtìbà.
The Ìbàdàn school of history, Ṣàbúrí Bíọ́bákú and Bọ́lánlé Awé, Tóyìn Fálọlá, Ayọ̀ Bámgbóṣé and Adébóyè Bàbálọlá on Yoruba language and oral poetry, Rowland Abíọ́dún and Babátúndé Lawal on art, and Akínwùnmí Ògúndìran on archaeology.
The political reign, commercial policies, military decline, and constitutional conflicts of Aláàfin Abíọ́dún, the late eighteenth-century monarch of the Ọ̀yọ́ Empire.
An annual seventeen-day royal festival in Ọ̀wọ̀ commemorating Queen Ọ̀rọ́nsẹ̀n, characterized by iron gongs, the complete prohibition of drums, and cross-gender royal regalia.
A comprehensive scholarly analysis of Yoruba twin memorial figures, their theological functions, carving techniques, stylistic regionalisms, museum histories, and contemporary restitution debates.
How oríkì is built from independent units rather than narrative sequence, and the specific mechanisms, tonal, structural, and referential, that make it resist translation.