Praise poetry gathered by an automated search pass and not yet reviewed. Every item on this page is unverified: it is shown so it can be checked, not because it has been.
This page is the one place in this corpus that shows unreviewed material. It is separated from the corpus proper for that reason, and nothing on it should be quoted as established.
Gathered automatically and not yet reviewed. Diacritics, attribution and wording all still need checking against the named source before any of this can be relied on.
Oriki lineage praises, historical appellations, and epithets of prominent community figures in Okuku.
Translated by Karin Barber
Encodes genealogical memories, migratory origins, heroic exploits, personal reputations, and social rivalries across generations.
When performed
During bridal departures (ẹkún ìyàwó), funerals, title-taking ceremonies, daily greetings, and community festivals.
Performed by
Women chanters and elderly female custodians of lineage lore in Okuku.
Lineage or town
Òkùkù (Ọdún-Ọ̀tin district, Osun State)
Variants
Dialectal variants of the Ọṣun/Ọyọ Yoruba interface preserved in field recordings
Ọ̀fà
orileUnverified harvest
Original
Ijakadi l' ooro t'Offa. Ija kan, ija kan ti won ja l'Ofa nile Olalomi nijosi. Laaare, buuure. Okan o gbodo jukan l'Ofa.
Literal gloss
Wrestling is the morning custom of Offa. A fight, a fight that they fought in Offa in the home of Olalomi back then. Cut fairly, divide fairly. One must not cheat another in Offa.
Idiomatic English
Wrestling is the tradition of Offa. A fight, a certain fight that was fought in Offa in the home of Olalomi in former times. Cut-it-fairly, divide-it-fairly. One must not cheat the other in Offa.
Translated by Karin Barber
Evokes the founding heritage, valor, ethos of fair distribution, and historical wrestling/martial identity associated with the ruler Olalomi Olofa and the town of Offa.
Igbá tó wu ìjòkun ló ń dudu idu ojé. Ó wáá wu Babalọla Ọmítọ́tan ó dudu tán ó fẹ́yín ṣẹ́kẹ́.
Literal gloss
When pleasing ijokun-plant it becomes dark darkness lead. It then pleased Babalola Omitotan he is-black completely he reveals-teeth white-gristle.
Idiomatic English
It was by choice that the ijokun plant became as black as lead. And by choice Babalola Omitotan became perfectly black with teeth as white as gristle.
Translated by Karin Barber
Eulogizes the genetic and ancestral physical distinction of the lineage members, comparing their deep dark skin and bright teeth to natural vegetation choices, asserting inherent lineage beauty, pride, and autonomy.
When performed
Lineage gatherings, ancestral rites, naming ceremonies, funerals, and daily morning praises by wives and mothers.
Performed by
Lineage women (ayé ilé), bride chanter (ẹkún ìyàwó chanters), and rárà chanters.
Lineage or town
Ẹlẹ́mọ̀ṣọ́ lineage, Òkukù / Òyó region
Variants
Recorded in variant lengths across Yoruba communities retaining Ẹlẹ́mọ̀ṣọ́ patrilineal praise epithets.
Olofa child of fair division / Wrestling is the custom of Ofa / Olofa owns omele, gbengbeleku other people pay / Child of Olalomi / Cut-it-fairly, divide-it-fairly / Iyeru if one exceeds the other / In the house of Olalomi / Wrestling is custom of Ofa
Idiomatic English
Olofa, child of fair division / Wrestling is the tradition and essence of Ofa / Olofa owns the omele drum, others pay heavily / Offspring of Olalomi / Cut it fairly, divide it equitably / Iyeru, if one portion is bigger than another / In the home of Olalomi / Wrestling is the custom of Ofa.
Translated by Adeboye Babalola / cited in Yoruba oral literature scholarship
Affirms the ancient origin, egalitarian ethics of fair distribution ('cut-it-fairly'), and martial/wrestling identity ('Ìjàkàdì') defining the people of Ofa.
When performed
Recited by senior women during weddings, lineage gatherings, chieftaincy ceremonies, and civic assemblies
Performed by
Senior lineage women (ìyálé / àgbà obìnrin)
Lineage or town
Ọ̀fà / lineages settled across Odo-Ọtin and surrounding towns
Variants
Recorded in variant lengths by Adeboye Babalola (2000, 'Àwọn Oríkì Orílẹ̀ Mẹ́tàdínlọ́gbọ̀n') and Karin Barber (1991)
Ọ̀yọ́ lineage and town origin
orileUnverified harvest
Original
Ọ̀yọ́ nilé babaà mi. Àparò mélòó péré N ńbẹ ní Ọ̀yọ́ awa? Àparò mẹ́ta péré N ńbẹ ní Ọ̀yọ́ awa. Ọ̀kan ńṣe ká bà, ká bà, Ọ̀kan ńṣe ká fò, ká fò, Ọ̀kan ńṣe ká fò pin ká relé Alé-Òyun. Nígbà tó di lẹ́ẹ̀kíní Mo dáko suuru Suuru suuru suuru sí Alé-Òyun Èṣú ṣe bí eré Èṣú mú mi lóko jẹ. Nígbà tó di lẹ́ẹ̀kejì...
Literal gloss
Oyo is the home of my father. How many bushfowls are there in our Oyo? Only three bushfowls are there in our Oyo. One said let us sit, let us sit. One said let us fly, let us fly. One said let us whirr away to the home of Ale-Oyun. When it came to the first time, I cleared a small farm, a tiny tiny farm at Ale-Oyun. Locusts came like play; locusts ate up my farm. When it came to the second time...
Idiomatic English
Oyo is the home of my father. How many bushfowl Are there in our Oyo? There are only three bushfowl In our Oyo. One said 'Let's sit, let's sit', One said 'Let's fly, let's fly', One said, 'Let's whirr off and go to Ale-Oyun'. The first time round I made a little farm A little tiny farm at Ale-Oyun Locusts came as if in jest Locusts ate my farm up. The second time around...
Translated by Karin Barber
The chant invokes ancestral loyalty and origin in the ancient kingdom of Oyo ('Ọ̀yọ́ nilé babaà mi') using the allegorical motif of three bushfowls and the narrative story of farming at the ancestral site of Ale-Oyun plagued by locusts, serving to identify members of Oyo descent through specific historic place-names and poetic formulae.
When performed
Performed during traditional life transitions including marriages (especially bride's lament and departure songs), funerals, civic celebrations, lineage gatherings, and religious festivals.
Performed by
Sangowemi (and traditional female praise chanters / oloríkì)
Lineage or town
Ọ̀yọ́ (Ọ̀yọ́-Ilé / Old Ọ̀yọ́ stock)
Ẹ̀gbá
orileUnverified harvest
Original
Ẹ̀gbá 'mọ Lísàbí Agbòǹgbò àkàlà. Ọmọ erin j'ogún ọlá. Ọmọ ṣí 'lẹ̀kùn pa 'lẹ̀kùn dé. Aridi ògo lójú Ogun. Baba t'ẹ̀yin ni wọ́n ròyìn ogun bààrà f'ágbe. Ẹ̀gbá, ọmọ adúró gbẹrú, má dúró gbẹ̀kọ. Ẹrú ní nsini, ẹ̀kọ kìí sìn 'yàn. Kò s'óhun tí wọ́n ǹṣe ní mọ́kà, T'ẹ́yin kìí ṣe l'Ẹ̀gbá Aláké yín. Wọ́n ń munmi sẹ́mí-sẹ́mí ní Mọ́kà, Ẹ̀yin náà n munmi Odò Ògùn l'Ẹ̀gbá Aláké. Wọ́n ń g'Àràfá ní Mọ́kà, Ẹ̀yin n g'orí Olúmo l'Ẹ̀gbá ti yín. Wọ́n bí yin L'Áké, ẹ gbó lẹ́nu bí jeje. Wọ́n bí yin ní Gbàgùrá, ẹ gbó l'óhùn bí ọ̀jẹ̀. Ọba òkè bá wa dá ìlú Ẹ̀gbá sí.
Literal gloss
Egba, offspring of Lisabi Agbongbo akala / Offspring of the elephant that inherits honor / Offspring of the one who opens the door and shuts the door / The one whose glory is evident in the face of war / It was your forefathers whom people reported the spread of war to the farmer / Egba, offspring of those who wait to receive a slave, rather than wait to receive cornmeal / A slave serves a person, cornmeal serves no one / There is nothing they do in Mecca / That you do not do in your Egba Alake / They drink Zamzam water in Mecca / You too drink the water of River Ogun in Egba Alake / They climb Mount Arafat in Mecca / You climb atop Olumo Rock in your Egba / If you are born in Ake, you speak gently / If you are born in Gbagura, your voice resounds like lead / May the King of Heaven preserve the town of Egba.
Idiomatic English
Egba, children of Lisabi Agbongbo-Akala, offspring of the elephant that inherits dignity and honour, descendants of those who open and shut the gateway. Those whose valor shines bright on the warfront; your ancestors were the brave ones to whom the spread of war was reported even to the farmer. Egba people, descendants of those who stand to take captives rather than accepting porridge (for a captive serves a master, but a cold meal serves no one). There is nothing holy done in Mecca that you do not do in your Egba Alake: in Mecca they drink the Zamzam water; in Egba Alake you drink the pure waters of River Ogun. In Mecca they ascend Mount Arafat; in your Egba land you ascend atop Olumo Rock. Those born in Ake speak with smooth refinement; those born in Gbagura speak with a voice as deep and heavy as lead. May the Lord of Heaven preserve the commonwealth of Egba.
Translated by Waidi Adebayo
The poem celebrates the historical sovereignty, martial fortitude, and cultural pride of the Ẹ̀gbá people of Abeokuta. It honors the 18th-century hero Lísàbí Agbòǹgbò Àkàlà, who organized the revolt against the Ọ̀yọ́ Empire's dominance. It underscores their refusal of subjugation ('adúró gbẹrú má dúró gbẹ̀kọ'), exalts the sacred topography of Olúmọ Rock and River Ògùn by comparing them to pilgrimage sites in Mecca, and highlights the linguistic and cultural characteristics of key Egba constituent divisions including Áké and Gbàgùrá.
When performed
Recited and chanted during major civic and cultural gatherings such as the annual Lísàbí Festival, royal investitures and chieftaincy coronations, lineage ancestral venerations, child naming ceremonies, and civic assemblies.
Performed by
Lineage praise-singers (akéwì, onírárà), traditional palace bards, griots, drummers (onílù), and community elders.
Lineage or town
Ẹ̀gbá (Abeokuta, Ogun State, Nigeria)
Variants
Variations include extended panegyrics referencing the four Egba crowns (Alake of Egba, Oshile of Oke-Ona, Agura of Gbagura, and Olowu of Owu), and specific ancestral battle invocations surrounding Sodeke and the settlement under Olumo Rock.
Ìjẹ̀bú (Ijebu people / lineage)
orileUnverified harvest
Original
Oni mi je nubu omo Oluweri Omo Ajebu josa de Igbo – bini. Omo Asale-gege booni noobinren. A-b'aya-kunle-tititi.
Literal gloss
Those who rove in the deep waters, offspring of Oluweri / Offspring of Ajebu who roved the waters as far as Igbobini / Offspring of one who takes mistresses as if he had no wives / One whose home is filled to capacity with wives.
Idiomatic English
Rovers of the deep sea, offspring of Oluweri. Rovers of deep waters as far as Igbobini Whose forebear indulged concubines as if not married. Whereas his home is full of women.
Translated by Ayinde Abimbola
The oríkì preserves the oral historiography and etymological origins of the name 'Ìjẹ̀bú' (from 'Je nubu' / 'Ajébújọ̀sá', meaning people who navigate/rove the deep waters). It recalls their historical mastery of riverine trade routes reaching settlements such as Igbobini, their devotion to the water divinity Oluweri, and their ancestral wealth evidenced by large households.
When performed
Performed during traditional festivals (such as Agemo and Ojude Oba), Osugbo society gatherings, civic and royal ceremonies, marriages, and family life-cycle events when invoking lineage roots and pride.
Performed by
Lineage elders, traditional praise poets (akéwì), Osugbo/Ogboni elders, and women chanters.
Lineage or town
Ìjẹ̀bú / Ìjẹ̀bú-Òde (Southwestern Nigeria)
Variants
Oni mi je nubu omo Oluweri / Omo Ajebujosa de Igbo-bini / O b'onibu rojo aijento / Bee, ii opa oun ko i kon'le (recorded in Odusino 2004 and Ayinde 2011).
Ewi of Ado-Ekiti (Adelabu Aroloye Dynasty) / Ado-Ekiti Royal Lineage
orileUnverified harvest
Original
Alayeluwa Oba... Oba Alayeluwa, iku baba yeye, Alase, ekeji Orisa. Omo Adelabu, omo Ajiloru-ke-riri, Omo oberiri-lookun. Omo Osupa-le-a-ni-o-gun. Eni owi e ba to o ko lo tun un se. Omo Aroloye, Oba Ogun-eranko-ni-wo. Oba Ogun-efon-ni pataka idi.
Literal gloss
Your royal majesty the King... King, royal majesty, death father mother, ruler second-to-deity. Offspring of Adelabu, offspring of he who wakes at night to make thunderous echo, offspring of one who shines brightly in darkness. Offspring of the moon shines and we say it is long/war. Whomever the declaration displeases should go and remake it. Offspring of Aroloye, King who rides animal on the horn. King who rides buffalo on the buttocks base.
Idiomatic English
Your royal highness, the King... The King, your royal highness, death-that-kills, the father-and-the-mother. The great authority, second in command to the deity. Offspring of Adelabu, child of he who already like a king had an abundance of everything, Adelabu, also known as child of one who shines forth gloriously in the dark, child of the moon that shines when they say it is war; whoever is dissatisfied with what he has declared should go and change it; offspring of Aroloye, the King who rides the animal on the horn, the King who rides leisurely on the buffalo's back.
Translated by Sunday Kayode Olugbayo
The poem eulogizes the royal prestige, fearlessness, divine legitimacy, and aristocratic ancestry of the Ewi monarchy of Ado-Ekiti, comparing the king's grandeur to bright celestial bodies and invincible beasts of the wild.
When performed
Performed during royal court ceremonies, palace audiences, chieftaincy installations, and annual cultural festivals such as Udiroko and Ogun Ewi.
Performed by
Alamo chant performers, royal bards, and court praise singers.
Lineage or town
Ado-Ekiti, Ekiti State
Variants
O sak'erekere l'ode Ukere, O rin gbaragbara l'ode Ugbara, O gb'Ologotun pon yin, B'Orunaja wijo
Ìjẹ̀ṣà (Ọmọ Ọ̀wá / Ọmọ Ọbòkun)
orileUnverified harvest
Original
Ìjẹ̀ṣà òṣun're, ọmọ onílé obì, Ọmọ ẹlẹ́ní àtẹ́ẹ́ká, ọmọ ẹlẹ́ní ẹwẹ́lẹ́, Ìjẹ̀ṣà ò r'ídìí ìsáná, Ilé ni ẹrú Ọ̀wá ti ń mú'ná r'óko. Ọmọ olóbi wówo tíríwò, Eyi tó ba dá a wọ s'ápò ẹni, Eyi tí kò dá a wọ s'íju ẹranko, Ẹranko a r'óun mú jẹ.
Literal gloss
Ìjẹ̀ṣà who do not sleep on rough Ọ̀rẹ́ mats, offspring of the owners of the home of kola nuts; Offspring of those with expansive mats spread permanently without rolling, offspring of the owners of fine Ẹwẹ́lẹ́ mats; Ìjẹ̀ṣà who do not need matchboxes, for right from home the royal servants of the Ọ̀wá carry live hearth fire to the farm. Offspring of the kola tree heavily laden with fruit; that which is good drops into one's pocket, that which is blemished falls into the wildlife forest so the beasts find something to eat.
Idiomatic English
Ìjẹ̀ṣà, who do not sleep on coarse Ọ̀rẹ́ mats, owners of the land of kola nuts, descendants of the keepers of permanently spread mats and luxurious Ẹwẹ́lẹ́ mats; Ìjẹ̀ṣà who seek no matchstick fires, for from the palace hearth the Ọ̀wá’s servants bring fire along to the farm. Offspring of the abundant kola nut harvest: the finest nuts go straight into our pockets, while the fallen ones feed the forest beasts.
Translated by Adeboye Babalola (scholarly corpus gloss) / academic lineage documentation
The poem celebrates the agricultural abundance, lineage refinement, elite lifestyle, and monarchical majesty of the Ìjẹ̀ṣà people. It emphasizes their wealth through lush kola nut orchards (onílé obì), their refined sleeping mats (Ẹwẹ́lẹ́ mats over coarse Ọ̀rẹ́ reeds), their generosity even to the animal kingdom, and the royal privilege derived from the lineage of the Ọ̀wá Obòkun of Ijesaland.
When performed
Performed during traditional festivals (such as the Ìwúde Ọ̀wá festival), royal coronation ceremonies, chieftaincy installations, lineage reunions, weddings, naming rites, and funeral eulogies for Ìjẹ̀ṣà elders.
Performed by
Akéwì (oral poets and chanters), lineage women chanters (olórikì / akigbe), and royal palace praise singers.
Lineage or town
Ìjẹ̀ṣà / Iléṣà, Osun State, Nigeria
Variants
Ìjẹ̀ṣà òṣeré ọmọ onílé obì / Ìjẹ̀ṣà òṣun're ọmọ onílé obì; Ọmọ olóbi wówo tíríwò dugbẹdugbẹ; Ọmọ Ọ̀wá Òbòkun Àdìmúlà.
Ọ̀wọ̀ citizens / Lineage of the Olọ́wọ̀ of Ọ̀wọ̀
orileUnverified harvest
Original
Omo Olowo a i je ran edun; edun fori igi le le, o fi oru le sapo Iona Owo
Literal gloss
Child of Olowo who does not eat meat of monkey; monkey leaves top of tree on the ground, it turns roof into pocket/dwelling on the way to Owo
Idiomatic English
The children of the Olowo, (i.e. free born citizens of Owo), who abhor the flesh of monkeys; because of lack of molestation, monkeys have abandoned treetops to live on roof tops at Owo.
Translated by Oladipo Joseph Olugbadehan
This praise poem commemorates the ancient founding migration of the Ọ̀wọ̀ kingdom led by Ojugbelu / Imade. During their eastward migration through thick forests, hunting monkeys guided the thirsty settlers to a freshwater spring that saved them. In gratitude, eating monkey meat became taboo for freeborn sons and daughters of the Olowo (Ọmọlọ́wọ̀), causing monkeys to live fearlessly on house roofs in Ọ̀wọ̀.
When performed
Performed during traditional festivals (such as Igogo), civic ceremonies, royal gatherings at the Afin Olowo, burial rites of prominent indigenes, and morning salutations.
Performed by
Lineage elders, women chanters, and palace praise singers (akígbe / akéwì).
Lineage or town
Ọ̀wọ̀ (Ondo State, Nigeria)
Variants
Oma Ologho a i je ran edun
Òpó / Òpómúléró lineage (Ọ̀yún / Ilé Ọlọ́kọ compound in Òkukù)
orileUnverified harvest
Original
Ará ìlú Ọ̀yún, ara rí gbó mi láṣọ. Kẹ̀kẹ́ ta dùndún, aṣọ lẹ́dìdì ènìyàn. N ó bá ọ relú rẹ, ọmọ kálukú ló láṣọọ rẹ̀. Egbìnrin ńkọ́? Aṣọ òpó yín ni. Egbìnrin ńkọ́? Aṣọ òpó yín ni. Kèélekùlù láṣọ àrẹ́-pẹ́kun òpóó. Ẹnínléyò ilée yín ni wọ́n ti í rógi láṣọ.
Literal gloss
Person from Oyun town, my body wears out cloth / The spindle/spinning wheel hums merrily, cloth is the wrapping of humans / I will go with you to your town, offspring of 'Everyone owns their own cloth' / What about egbinrin cloth? / It is the cloth for your post / What about egbinrin cloth? / It is the cloth for your post / Keelekulu is the finest cloth for the post / Inleyo/Ileyo, it is in your household that a post/tree is dressed in cloth.
Idiomatic English
Native of Oyun town, I'm wearing my clothes out. The spinning wheel spins merrily, cloth is the covering of people. I'll go with you to your town, child of 'Everyone has their own cloth'. What about egbinrin cloth? It's your post's cloth. What about egbinrin cloth? It's your post's cloth. Kelekulu is the very best of all the post's cloths. Ileyo people, it's in your family they dress up a post in cloth.
Translated by Karin Barber
The chant celebrates the Òpó (Òpómúléró) lineage's ancestral home (Ọ̀yún / Alé-Ọ̀yún) and their historic association with weaving, textiles, and the ritual practice of adorning architectural posts (òpó) with prestige cloths (such as egbinrin and kelekulu). The line 'wọ́n ti í rógi láṣọ' evokes the distinct lineage symbol of wrapping a carved post/tree in woven cloth.
When performed
Performed during ceremonial gatherings of the compound, ancestral lineage rites, bridal departure chants (rárà ìyàwó), and funeral obsequies.
Performed by
Wives of the lineage (àwọn ìyàwó ilé) chanting in call-and-response, as well as female oríkì chanters and brides in Òkukù.
Lineage or town
Òpó / Òpómúléró lineage (originating from Ọ̀yún / Alé-Ọ̀yún, documented at Ilé Ọlọ́kọ, Òkukù)
Variants
Another extensive branch of the Òpómúléró oríkì recounts the farmer's dispute over locusts destroying crops at Alé-Ọ̀yún and going to Ọ̀yọ́ for judgment before the Alaafin, saluting ancestors as 'Ọmọ Ẹrúbàmí' and 'Ọmọ Abímbọ́wọ́'.
Ẹlẹ́rìn (Erin-Ile / Erin-Osun lineage)
orileUnverified harvest
Original
Ẹ̀rìn moje ọmọ saaja, Ọmọ eléwé ladogba òróró maro, Ẹ̀rìn wagunwagun. Ewá w'Ẹ̀rìn logun eniti yíò wá Ẹ̀rìn logun kowa àpò ide kolowa ọfà, Bàbá kòníbon ajíperin nílé, karo ń lè mọ wọn lójú ogun ẹni Ẹ̀rìn mọ jẹ́ ta l'ọfà tikoku titi ọjọ́ ale afori wowe lobisu Ẹ̀rìn mọ jẹ́ lọmọ. Igi kan igi kan toya dina l'Ẹ̀rìn, Nipopo olowe koje ki ọmọ elẸ̀rìn oroko kòjé kí Ìwòfà elẸ̀rìn orodò, Ènìyàn mélòó nani yio gegi oro naa, Olowe wọn ní kí wọn wá, Abuké méje, Arọ méje, Adití méje, Abuké ngegi lọ apá kan ń dùn karara, Apá kan ń dùn kororo, kinni kan ndun winrinwinrin níkùn igi, oro naa ja nipopo olowe arara ngegi lọ apá kan ń dùn karara, Apá kan ń dùn kororo, kinni kan ndun winrinwinrin níkùn igi arara base dùn le lomori wogbo, Owadi elékẹta ototo adití tí kò gbó t'ayé tí kò gbó tọrùn sebi oun logegi ọ̀rọ̀ náà nipopo olowe, kinni wọn ba nínú igi wọn ba osahin wọn ba ọkà bàbà ìbọn oje eku eyan tokanrin nílé tápà nílé ọmọ afowuro dáná kúlíkúlí.
Literal gloss
Erin moje child of Saaja / Offspring of the leaf that is equal and straight / Erin arrayed in war / Come behold Erin in battle, whoever comes to Erin in war should bring brass quiver and bring arrows / Father has no gun, he who hunts elephants at home / One who is recognized on the battlefield; whoever Erin strikes with an arrow does not die until evening / A single fallen tree blocked the thoroughfare in Erin / Along Olowe's broad avenue, preventing children of Erin from going to the farm and pawns from going to the river / How many people would fell this fateful tree? / Olowe asked them to bring seven hunchbacks, seven lame persons, seven deaf persons / The hunchbacks chopped the tree, one side rang 'karara', one side rang 'kororo', something rustled inside the trunk / The dwarfs chopped the tree and fled when the sound intensified / It was the third group, the completely deaf who heard neither worldly affairs nor heaven, that felled the fateful tree on Olowe's avenue / Inside the tree they discovered an Osanyin staff, Guinea corn, lead bullets, and rat traps.
The poem recounts the foundational history, military prowess, and ancestral legends of the Erin people (Erin-Ile and Erin-Osun). It invokes their ancestral founders—notably Prince Odumosa (grandson of King Obalufon of Ile-Ife) and the legendary warrior Olowe—while detailing mythical encounters with mysterious barrier trees, traditional archery, elephant hunting, and connections to Obalufon.
When performed
Performed during traditional festivals (such as the annual Obalufon festival), royal coronation ceremonies, funeral dirges, naming rituals, and public panegyric performances.
Performed by
Female chant soloists and chorus (akéwì / alágbe), palace bards, and professional oral poets (such as ìjálá and rárà chanters).
Lineage or town
Ẹ̀rìn-Ilé (Kwara State) and Ẹ̀rìn-Ọ̀ṣun (Osun State)
Variants
Ọmọ Ẹlẹ́rìn Mọ́sá, Ọmọ Eléwé Ladogba, Ọmọ Ọbàlùfọ̀n l'Ẹ̀rìn, Ọmọ Abínúwọ̀lẹ̀, Ọmọ Abiowe, Ẹ̀rìn moje ọmọ arotin wẹ bi ojò
Ìlá-Ọ̀ràngún (Onílé Ìlá / Ọ̀ràngún Ìlá)
orileUnverified harvest
Original
Ìlá Òràngún, ọmọ ògbóye, Ìlá ladé yín, ẹ ò kòwó radé rí, Ẹ̀yin lọmọ ògbóye gbọ́lá, Ìlú ẹrú kò gbọdọ̀ wọ̀ bẹ́, ìwọ̀fà ẹ gbọdọ̀ sùn, Ìwọ̀fà tó bá sùn láàárọ̀ tí alẹ́ balẹ̀, Ajagunńlá a ní òun ó gberan amata, Àgbà ọ̀tọ̀tọ̀ àgùntàn erí Òràngún, Ẹ lọ́ n gba awọka, Ọmọ wíwò ni wọ́n mú ni ṣẹbọ, Ẹ̀yin lọmọ ewúrẹ́ là ń jẹ lẹ́sẹ̀ gbàgede, Àgùntàn là ń jẹ lẹ́sẹ̀ yàrá, Àkùkọ gàngà tí kò lálédè Ìlá níjọ́sì, Ìyán la jẹ lọ́dọ̀ baba tiyín Òràngún, Ara Ìlá ẹkùn o, ọmọ ẹkùn, ọmọ ẹbọ, Ìlá lẹ́ tẹ́ntẹ́, Ìlá lẹ́tẹ́ntẹ́, Ìlá d'oṣùpá o, Ìlá lẹ́tẹ́ntẹ́.
Literal gloss
Ila Orangun, child of the one who understands wisdom/chieftaincy; Ila is where your crown belongs, you never bought a crown with money; You are the children of wisdom who inherit honour; A town where a slave must not wander carelessly, a pawn must not sleep; The pawn that sleeps from morning until nightfall; Ajagunla says he will seize the sacred sacrificial animal; Mature whole rams sacred to Orangun; You are those who take the coiled armlet/ring; It is by appearance that people are selected for sacrifice; You are children of: goat is eaten in the courtyard; Sheep is eaten in the inner room; The giant cockerel that had no owner roaming the open grounds of Ila in days of old; Pounded yam is what was feasted on at the home of your father Orangun; People of Ila, descendants of the leopard, children of sacred sacrifice; Ila stands on high, Ila is exalted like the crescent moon, Ila stands on high.
Idiomatic English
Ìlá Òràngún, offspring of the one who understands royal wisdom, In Ìlá your crown belongs, you never bought your crown with money, You are the children of wisdom who inherit glory and wealth, A domain where slaves must tread with caution and indentured servants must not slumber, The servant who sleeps from morning until dusk falls, Àjàgún-ńlá declares he will seize their prized domestic beast, Mature, whole rams consecrated to the Ọ̀ràngún, You are they who inherit the royal ornaments, Chosen like treasured offspring for honor, You are the kindred where goats are feasted upon in the outer courtyard, And fattened sheep are consumed within the inner chambers, The proud rooster that roamed unhindered through ancient Ìlá, Pounded yam was the feast enjoyed at your ancestral home of Ọ̀ràngún, O citizens of Ìlá, fierce offspring of the leopard, born to sacred rites, Ìlá stands prominent on high, Ìlá shines exalted like the crescent moon.
No translator is named in the source.
The oríkì celebrates the royal heritage, ancestral legitimacy, and sovereign status of the Ọ̀ràngún dynasty of Ìlá (traced directly to Odùduwà through Ifágbamílà Àjàgún-ńlá). It emphasizes that their beaded crown was inherited by birthright rather than purchased with money, details strict palace discipline over servants and pawns, recalls lavish feasts of livestock and pounded yam, and identifies the lineage with the fierce majesty of the leopard (ẹkùn) and the elevated prestige of the ancient Ìgbómìnà kingdom.
When performed
Recited and chanted during royal coronation anniversaries, palace gatherings, chieftaincy ceremonies, ancestral festivals (such as Èpa, Ẹlẹ́fọn, and Òrìṣà festivals), burial/funeral obsequies of lineage elders, child naming ceremonies, and civic assemblies.
Performed by
Akewì (professional praise bards), palace chanters, female lineage eulogists (rárà chanters), drummers (onílù / ayan), and family elders.
Lineage or town
Ìlá-Ọ̀ràngún / Òkè-Ìlá, Osun State, Nigeria
Variants
Ọmọ Òràngún Ògbóye; Ìlá o lóògùn, ẹmu lóògùn Ìlá ('Ìlá has no medicine or charm other than sweet palm wine'); Ọmọ agbára ṣẹ́ mẹ́ta gbálà níjọ́sì; Ìbi a pẹrin sí là ń pè ní Ògbún Ìpẹrin.
Iran Alápà (Alápà lineage / Èkù-Àpá)
orileUnverified harvest
Original
Ọmọ ọ̀lùfà lóye ọ̀lákọlé, ọmọ a pẹ́ lẹ́yìn mọ̀sọ bí ẹnití ńlá oyin, ọmọ a gborí ọkà ṣẹbọ, ejòlá ọmọ a jí gun ejò. Aṣọ mélòó ni ńbẹ l'Ápà tí ńṣeṣẹ? Aṣọ mẹ́ta ọ̀tọ̀ọ̀tọ̀ ni ńbẹ l'Ápà tí ńṣeṣẹ: ìkínní ńṣe rọmí-rọmí, ìkejì ńṣe lòmì-lòmì, ìkẹta ni bí ẹ ò ti ẹ̀ lómì ẹ mọ́ ṣài mọ́júmí bàtà nínú ilé àgbà. Ejòlá ọmọ a jí gun ejò, ọ̀kọ̀ọ̀kan l'ọmọ ejò ńrìn, ṣebí ń l'ọmọ aráyé ńfi ńpawọ́n; bí ejò bá tètè gbọ́n-ọ́n-gbọ́n ká rìn ká pọ̀, ikú kì bá tí pa ejò l'ọ́nà ọ̀rà. Bí ọkà ńlá bá ṣáájú, tí paramọ́lẹ̀ tẹ̀lé e, tí àwòrùrù ńwọ́ rùrù bọ̀ lẹ́yìn, kò sí bàbá ẹnití ó lè dúró de ejò l'ọ́nà. Ìyèkan nínú ni wọ́n t'ọ́sùnwọ̀n l'éjò. Àwọn l'ọmọ Àjàó mọ̀sọ t'ó ti òde Ọ̀kin ilé wá. Owo tí a fún àlè ó d'égbé, owó tí a bá fún aya ẹni dédé ni ó ṣe. Nǹkan márùn-ún ni ńdùn oyè l'Ápà: yánrin ńdùn oyè l'Ápà, ẹ̀bọlọ ńdùn oyè l'Ápà, yánsọbí ńdùn oyè l'Ápà, tẹ́tẹ́ ńdùn oyè l'Ápà, ewúro ńdùn oyè l'Ápà. Ẹ̀yin l'ọmọ eléwúro àgbámú, ọmọ oníyánrin l'Ómìdó. Bí a ńlọ s'óde a tọrọ aṣọ, bí a ńlọ s'óde a tọrọ ẹ̀wù wò, kò sí bàbá ẹnití yíò tọrọ ejò l'ọ́wọ́ yín. Tani ńsọpé ejòlá kò nílé? Ta ńl'ábẹ́ ìlósùn, ta ńl'ábẹ́ hóólò, ta ńl'ẹ́rùwà kan jìgìjìgì tí ńbẹ l'ọ́nà odò Àpá.
Literal gloss
Offspring of the royal boa/python in honour who builds wealth; offspring of those who stay long in elegance like one licking honey; offspring of those who take the viper head to make sacrifice; python, offspring of those who wake up to ride the snake. How many cloths are in Apa that are sacred? Three distinct cloths are in Apa that are sacred: the first flows gently, the second ripples brightly, the third is even if you have no water do not fail to clean shoe-faces in the house of the elder. Python, offspring of those who wake to ride the snake; snakes walk one by one, which is how human beings kill them; if snakes had been clever to walk together in large groups, death would not kill snakes on the pathway. If the great puff adder takes the lead, followed by the viper, with the aworuru slithering along behind, no father's child can stand in the snake's path. Kinsfolk are what make snakes formidable. They are the offspring of Ajao the elegant who came from the homeland of Okin. The money given to a concubine goes to waste, the money given to one's legal wife is well spent. Five delicacies make the title pleasant in Apa: wild spinach (yanrin) is sweet for the chieftains in Apa, ebolo vegetable is sweet in Apa, yansobi is sweet in Apa, tete vegetable is sweet in Apa, bitterleaf is sweet in Apa. You are the offspring of the owner of bitterleaf in Agbamu, offspring of the owner of yanrin in Omido. When going out we borrow wrappers, when going out we borrow robes, but no father's child will ever borrow a snake from your hands. Who says the python has no home? Who owns under the camwood tree, who owns under the boolo tree, who owns the sturdy clump of eruwa grass that stands firmly along the road to the Apa river?
Idiomatic English
Offspring of the serpent lord, honoured and prosperous, whose majesty endures as sweetly as honey; descendants of those who sacrifice with the viper's head; people of the python who rise at dawn to ride upon serpents. Three ceremonial cloths belong to Apa: one that flows with gentle grace, one that shimmers bright, and one that preserves immaculate purity in the elder's court. The python's kind walk alone, which makes them prey to mortals; had serpents learned to move together in a multitude, no hunter could strike them down upon the road. When the great puff adder leads, the viper follows close behind, and the mighty aworuru serpent sweeps behind them, no living soul dares block their path. In unity lies their sacred strength. They are the offspring of Ajao the refined from ancient Okin. Five sacred plants bring sweetness to the chieftaincy titles of Apa: the yanrin herb, the ebolo greens, the yansobi, the tete, and the bitterleaf. You are the true children of the bitterleaf in Agbamu and the masters of yanrin at Omido. People may borrow garments and fine robes for outward outings, but none can ever claim or borrow your sacred serpents. Who dare claim the python has no abode? It reigns supreme beneath the ilosun tree, beneath the hoolo bush, and within the thick eruwa grass on the sacred pathway to the river of Apa.
No translator is named in the source.
The oríkì celebrates the royal and mystical heritage of the Alápà lineage (associated with ancient Èkù-Àpá, Agbamu, Omido, and surrounding settlements). It highlights the lineage's central totem—the snake (particularly the python and viper), which lineage members are tabooed from killing or consuming due to an ancestral pact and transformation myth. It also emphasizes communal unity, ancestral wealth, indigenous culinary delicacies (yanrin, ewúro, ebolo), and the sovereign landholdings around the Apa river.
When performed
Recited during royal coronation and chieftaincy installation ceremonies of the Alápà, lineage funerals, naming ceremonies of clan children, annual ancestral festivals, and praise chants by communal oral poets.
Performed by
Akéwì (traditional poets), Aláròkò/Olóríkì (women lineage chanters and griots), and ritual specialists.
Lineage or town
Alápà lineage / Èkù-Àpá clan (including Agbamu, Omido, Iludun, and related branches across Kwara, Osun, and Oyo States).
Variants
Variations include references to local royal branches such as Alápà of Èkù-Àpá, Alápà of Agbamu, and Alápà of Apa Awori (Badagry).
Àrẹ̀sà Lineage (Descendants of Ìrẹsà)
orileUnverified harvest
Original
Èmi l'ọmọ Arẹ̀sà Ọmọ Arẹ̀sà b'árìn-ọlá Ọmọ alẹ́po ní Mòde Ṣe-ní-n-ṣe-ní l'ó ń bí Ìrẹsà nínú B'ọ́lẹ̀ ò b'úpo l'ó ń ya Mòde lára Arẹ̀sà Dúdú l'ẹ̀gbọ́n, pupa l'ábúrò Ọjọ́ inú bí ọmọ Dúdú l'ó bínú di pupa.
Literal gloss
I am the child of Aresa / Child of Aresa who walks with honor / Child of those who have abundant palm oil in Mode / 'Do to me as I do to you' is what angers the native of Iresa / When the lazy man does not produce palm oil it upsets the people of Mode / The Dark Aresa is the elder, the Light-complexioned is the younger / The day anger overtook the Dark child was the day he turned red with fury.
Idiomatic English
I am the offspring of Aresa, Offspring of Aresa who walks with dignity and wealth, Offspring of those rich in palm oil in the Mode quarter; Retaliation and provocation provoke the anger of the Iresa person, If a sluggard fails to extract palm oil, it disturbs the citizens of Mode; The Dark Aresa is the senior brother, the Fair Aresa is the junior, The day fury seized the dark-skinned offspring was the day he flushed crimson.
No translator is named in the source.
The poem identifies members of the ancient Aresa lineage (associated with the dual historical kingdoms of Iresadu and Iresapa). It highlights their prosperity, their historical industry in palm oil processing in the Mode quarter, their acute intolerance of laziness and injustice, and the legendary brotherhood between the dark and fair branches of the royal house.
When performed
During family festivals, royal installations, naming ceremonies, funerals of lineage elders, and communal oríkì chanting performances.
Performed by
Professional oríkì chanters (akéwì, akígbe, or ijala/iwi performers) and female elders/mothers within the lineage.
Lineage or town
Ìrẹsà (Ìrẹsà-Dúdú / Ìrẹsà-Pupa, Oyo State / Osun State boundary area)
Variants
Variants include extended recitations addressing 'Iná Òdí' (the lineage cognomen), 'Aresa Ajeje', and referencing the ancestral groves and rivers such as Igbo Ekoro.
Ọba Ẹlẹ́yọ Geji
orileUnverified harvest
Original
Oni ni won roko leti opon. / Ola ni won sakaa lagbe ...... / Oni la o kun Ifa Olukorokorobojo. / Ola la o kun Ifa Olukorokorobojo. / Ani won o kun, / Won kun. / Won pa Ekun kan minijo-minijo. / Ti nbe ni abe iti. / Won gbe ori re fun Oba Ido. / Omo Ejiworogbe Ile Ido. / Won gbe yegese ara re fun Oba Eleyo Geji. / Omo ajoju ebo gbara. / Ina abara wusa. / Ojo palami omo atuyeriyeri. / Eni to ba peri Oba Ido nibi. / Ori gbogbo a maa fo won iwere iwere. / Eni ba peri Oba Eleyo Geji. / Aya a ma lawon Igarara igarara. / Togun Oba Ido ni ina....
Idiomatic English
Today we shall clear the forest on the edges of the tray. / Tomorrow we shall fry bean cake in a gourd (impossibilities) ...... / Today we will divide it, a divination of Olukorokorobojo. / Tomorrow we will cut it to pieces, a divination of Olukorokorobojo. / We asked them to butcher it, they did. / They killed a big tiger. / They cover it and kept it under the plantain trees. / They gave its head to the king of Ido. / The son of Ejiworogbe of Ido. / Another part was given to King Eleyo Geji. / The one that thrives on sacrifice. / The fire that hurts. / The rain that sprinkles. / Whoever attempts to attack the king of Ido. / They will have their heads aching. / Whoever attempts to attack King Eleyo Geji. / Their hearts will pound with fear.
Translated by O. I. Pogoson and A. O. Akande
Praise poetry celebrating the sovereign authority and spiritual invincibility of King Eleyo Geji (alongside the King of Ido), characterizing him as a ruler who thrives upon sacrificial rites and whose retributive power afflicts attackers with terror and anguish.
When performed
Performed during Ifá divination consultations, recitations of the Òyẹ̀kú Méjì chapter of the Ifá literary corpus, and ritual invocations.
Performed by
Babalawo (Ifá divination priest; documented from the Ojebode family of Òròkí, Ìsàlẹ̀-Ọ̀yọ́)
Lineage or town
Ẹlẹ́yọ / Ìdó / Ọ̀yọ́
Ọlọ́fà (Offa Lineage and Royal Dynasty)
orileUnverified harvest
Original
Ìyẹ̀rú-Ọ̀kín, Ọmọ Ọlọ́fà Mọ̀jọ̀, Ọmọ Ọláalọ́mí, Ọmọ ab'iṣu jorúkọ, Ìjàkádì l'òrò t'Ọ̀fà, Ìjà kan ìjà kan tí wọ́n ń jà l'Ọ́fà l'ọ́jọ́sí, Ọláalọ́mí ojú ta l'ó ṣe? Ó ṣ'ojú ebè lálá, Ó sì ṣ'ojú poro nínú oko, Ìbá ṣ'ojú olóko, ìbá là wọ́n. Ọmọ lááre, ọmọ búure, Ìkan ò gbọdọ̀ ju 'kan, Bí 'kan bá ju 'kan nílé Ọlọ́fà mọ̀jọ̀, Ìjàkádì l'òrò t'Ọ̀fà.
Literal gloss
Iyeru the peacock, offspring of Olofa Mojo; child of Olalomi; child of one whose sweet potatoes are famous/eaten with names; wrestling is the tradition of Offa; a certain fight that was fought in Offa long ago, Olalomi in whose presence did it happen? It happened in the presence of the big yam ridges, and in the presence of the furrows in the farm; had the farm owner been present, he would have arbitrated; child of cut-it-fairly, child of divide-it-fairly; one portion must not be bigger than the other; if one portion exceeds the other in the home of Olofa Mojo, wrestling is the tradition of Offa.
Idiomatic English
Iyeru of the Peacock, offspring of Olofa Mojo, child of Olalomi, descendant of the one whose harvest of sweet potatoes bears renown. Wrestling is the custom and sport of Offa. A historic contest that was fought in Offa of old—Olalomi, before whom did it occur? It occurred before the tall ridges and before the furrows in the farm; had the master of the farm been present, he would have reconciled them. Offspring of 'cut it equitably, share it justly': one share must never surpass another; if one share surpasses another in the home of Olofa Mojo, wrestling is the custom of Offa.
Translated by Traditional / Academic corpus translation (rendered in studies on Offa panegyrics and Babalola's lineage compendia)
The oríkì orílẹ̀ celebrates the founding heritage of Offa and its rulers (Olalomi Olofa-gangan), the royal avian totem of the peacock (Ọ̀kín), and sweet potato cultivation (ànàmọ́/iṣu). It explicitly narrates the foundational legend of the 'Ìjàkádì' tradition: two brothers roasted sweet potatoes on a farm and fought/wrestled over unfair sharing because no mediator was present except the agricultural ridges and furrows. This established the town's core principle that fair sharing ('lááre, búure') must prevail, and wrestling serves as the traditional sport and dispute arbiter.
When performed
Recited during royal installations and palace rituals, naming ceremonies, wedding celebrations, burial rites of lineage members, and the annual Ìjàkádì Loro Ọ̀fà cultural festival.
Performed by
Female oral poets (akéwì / onírárà / alágbe), royal praise singers, palace drummers (onílù), and elders of the lineage.
Lineage or town
Offa (Ọ̀fà), Kwara State / Oyo-Yoruba heritage sphere
Variants
Expanded versions include invocations of farm crops and structural defenses: 'Ẹdẹ ọkin ọlọfa mojo, olofa omo ola nlomi ab'isu joko ijakadi loro Offa... oka ni se kagun kankanrun, agbado ni agun-mona l'Offa, eree ni agbele yarara...' and class-consciousness variants documented in Babalola (2000) such as 'Oba ni k'omo otosi Offa, k'o maa mo'wo lu aka e jeje'.
Oníkòyí / Ẹ̀sọ́ Ìkòyí
orileUnverified harvest
Original
Olúgbọ́n Agbe, ọkùnrin ogun lọ́tùn-ún, olè lósì, Ọmọ olóóro ẹgbẹ́ olóola. Ẹ̀ẹ́sún kì í hù nínú igbó, nínú oko tí a ro l'ẹ́ẹ́sún hù sí. Ọkùnrin ogun t'í ti ọ̀wọ̀ ọfà bọra. Gúnyándémi, àgbàlagbà tó roko rẹ̀. Rókadémi, ọmọ Erúùkú. Ta l'ó ba Ẹ̀sọ́ jà l'ẹ́yìn Ẹ̀sọ́? Ọkùnrin ogun tó mú ọ̀pọ̀lọpọ̀ ọfà lọ́wọ́. Ọ̀pọ̀lọpọ̀ agbára tí ń mú ìrora wá... Olúkòyí kò níí dẹ́kun àtirìn káàkiri láti jagun...
Literal gloss
Olugbon Agbe, man of war on the right hand, thief on the left; Child of a titled leader in the guild of circumcisers; Elephant grass never grows in the primeval forest, it is in hoed farm clearings that elephant grass grows; Man of war who clothes himself in sheaves of arrows; Gunyandemi, elder cultivating his farm; Rokademi, offspring of Eruuku; Who ever fought battle for the Eso in the Eso's absence? Man of war carrying vast quivers of arrows; Full of pain-inflicting power; Olukoyi will never cease roving to make war...
Idiomatic English
Olugbon Agbe, man of war resorting to theft on the left hand side, Offspring of a titled woman in the society of circumcisers. The elephant grass does not grow in the forest but in the farm clearings. Man of war carrying sheaves of arrows. Gunyandemi, an elderly man tilling his farms. Rokademi, offspring of Eruuku. Who ever fought a war for the Eso in their absence? Man of war carrying large numbers of arrows. Plenty of agony-inflicting power… Olukoyi will not cease to wander about warring…
Translated by S. Adeboye Babalola
The chant celebrates the heroic, militaristic, and relentless nature of the Oníkòyí (rulers of Ìkòyí) and the Ẹ̀sọ́ warrior aristocracy of Old Ọ̀yọ́. It highlights their dedication to armed combat, their reliance on arrows and tactical plunder, their refusal to delegate military duties to others, and their perpetual readiness for battle.
When performed
Performed during hunters' guild assemblies (ìjálá performance sessions), annual ancestral festivals (such as egúngún festivals), chieftaincy installations, funerals of lineage members, and civic ceremonies.
Performed by
Ìjálá chanters (hunter-poets), royal bards, women chant specialists (in lineage ceremonies), and custodians of oral history.
Lineage or town
Ìkòyí / Ọ̀yọ́
Variants
Ẹ̀sọ́ Ìkòyí, Ẹ̀sọ́ adúrójà, apara ogun bí ẹni palẹ̀... (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); Àpòrogunjo Ìkòyí gbéra ńlẹ̀ o dìde ogun tó lọ.
Ọ̀wu Lineage (Ọmọ Olówu Òdùrú)
orileUnverified harvest
Original
Aremu Okikiolahan Omo Olowu Oduru Ajifewesere Okunrin meta Okunrin ogun Ara oru Ki i ranro Awi-i- menu kuro Ni towu
Literal gloss
Aremu whose fame is renowned / Child of Olowu Oduru / One who wakes early to play with medicinal herbs / Three men in one (Valiant man) / Man of war / A native of Owu does not nurse vengeance / But speaks persistently about a matter / Such is the way of Owu
Idiomatic English
Aremu, Okikiolahan Descendant of Owu Oduru One who has vast knowledge of herbs Valorous man Man of war The Owu man does not avenge But complains repeatedly
Translated by Oluwole Coker
This praise poem evokes the warrior ethos, martial valor, medicinal/herbal knowledge, and communal temperament of the Owu people, emphasizing that an Owu person openly speaks their mind and airs grievances rather than holding silent malice.
When performed
Performed during royal court ceremonies, civic assemblies, annual ancestral festivals (such as Ọdún Ọmọ Olówu), family milestones, and during praise-singing by popular traditional and contemporary musicians.
Performed by
Traditional lineage chanters (akéwì/alóre), royal court praise-poets, women elders, and contemporary popular folk musicians.