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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 beaded crown and what it does constitutionally, why the king's face is veiled, the birds at its apex, the beads themselves and their trade history, and the men's workshops that made them.

Why a Yoruba dancer has to understand drum language, the aesthetic of dancing hot with a cool face, and the line from the Alarinjo masque theatre through Ogunde, Ladipo and Ogunmola to Nollywood.

How much of generically African-diasporic music, food, language and aesthetics is specifically Yoruba-derived, separating demonstrated retention from plausible resemblance and naming the overclaims common in popular writing.