Oriki

The complete classification of oríkì by subject, orílẹ̀ through eranko, with a worked text for each kind and the boundary cases that show the categories are not airtight.

How oríkì is built from independent units rather than narrative sequence, and the specific mechanisms, tonal, structural, and referential, that make it resist translation.

The occasions on which oríkì is actually chanted, the royal awakening and market-day forms, and how payment shapes what a performer says, illustrated with texts the genre files in this section do not carry.

Karin Barber's finding that oríkì in Okuku is held and performed mainly by women, with texts showing what that custodianship does at a wedding, at a festival, and inside a marriage.

Bolanle Awe's case for oríkì as historical evidence, worked through two towns' founding oríkì, with a plain statement of what a historian can and cannot recover from the form.

Oríkì delivered on the talking drum rather than the voice, with the patron deity of drumming's own praise text and a documented case of drummed praise used to warn a rival.

Where oríkì with reliable Yoruba originals and named translators actually lives in print, who collected it, and what is and is not digitised or open access.

Oríkì composed and performed today, for a doctor, for a masked pop musician, and for the Christian God, showing the form still generating new texts rather than only preserving old ones.

Lineage and town-of-origin oríkì for four major Yoruba groups, including two variant texts for Ọ̀fà shown side by side rather than merged.

Royal and lineage oríkì for four eastern and central Yoruba kingdoms, including a rare text naming a specific carver rather than only royalty or warriors.

Three lineage oríkì from Karin Barber's Okuku fieldwork, plus the Olúfọ́n dynasty and the Ìkòyí warrior lineage whose praise obliges the chanter to include its own dishonour.

The Owu lineage's cloth and temperament oríkì, two conflicting versions of the Iresa lineage text, and a plain account of the lineage material this corpus found and could not verify.

Six documented Ògún oríkì texts from four different scholarly sources, showing the deity's seven manifestations, his contradictions, and a chanter's personal claim on him.

Three Ọbàtálá texts from Idowu, Beier and the Verger fieldwork tradition, and three Ṣàngó texts of markedly different sourcing quality, presented with an explicit account of which meet this corpus's standard.

The three water divinities' praise texts, including a case where a scholarly translation of Osun's oriki was found repackaged online without credit to its actual author.

Two further Esu texts beyond the one analysed for its poetics elsewhere in this section, two Osanyin herbal-medicine oriki of markedly different quality, and the hunter-diviner Osoosi's homage formula.

Seven further divinities' praise texts, from the ancestral founder to the deified river of a jealous co-wife, including two conflicting sources for the goddess of wealth.

Town praise for a war camp, a dyers' sanctuary and a warrior-founded hill town, each read for the specific civic identity its oríkì stakes a claim to.

Four more towns' civic praise, including Ilorin's oriki naming its own conversion from an Egungun-owning town to one where the horse replaced the ancestral masquerade.

A pointer to every personal and inagije text in this section plus one text presented nowhere else, the standard Yoruba personal sobriquet formula for Akanbi.

The two rarest classes of orikì in this section, praise addressed to a person's heavenly spirit companions and praise addressed to an animal, presented with honest limits on both.

A row for every lineage, town and divinity this corpus has looked for oríkì about, marking which carry a full three-layer text in a named file, which exist only as an unverified harvest record, and which are open gaps.