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The hunters' chant associated with Ògún, its vocal manner, the ìjálá artist and how he is judged, the contest setting, and what the chant does as self-portrait and as praise of animals.

The chanted poetry of the Egúngún masquerade, its lengthened-vowel vocal signature, the altered voice that marks it as the speech of the dead, and its descent into the Aláàrìnjò travelling theatre.

The secular chanting genre of praise, who the rárà singer is and how the performance is shaped by the audience paying for it, and the accuracy that makes rárà more than flattery.

The chant a Yoruba bride performs in the days before she leaves her father's house, its three-part structure, the social situation that produces it, and what she actually says about the marriage ahead of her.

The Yoruba hide-and-seek game, its sung call-and-response opening, its rules, and the Òrò imagery embedded in the chant that most players no longer connect to the masquerade tradition it names.