Oríkì Orílẹ̀: Ekiti, Ọ̀wọ̀, Ìjẹ̀ṣà and Ọ̀tún
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.
intermediatemedium·
Loading…
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.
The Yorùbá wey dem quote, the proverbs, oríkì, ẹsẹ Ifá, word list headwords, Odù names and citations dey exactly as the corpus record dem, for every language.
Dis file dey present oríkì orílẹ̀ for di Adelabu Aroloye royal dynasty of Ado-Ekiti, di free citizens of Ọ̀wọ̀, di Ìjẹ̀ṣà people under di Ọ̀wá, and di royal and Egúngún-custodian lineage of Ọ̀tún-Èkìtì. Di Ọ̀tún text dey different for dis section sake of say e mention real carver work instead of to just talk about warriors, wealth or royal descent, and dem present am with dat particular detail complete.
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.
Dem present am with some tone marks, as dem print am for di source, wey mix passages wey get mark and ones wey no get mark .
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, [and further royal epithets continuing past the harvested excerpt].
Sunday Kayode Olugbayo translate am from im 2012 master's dissertation on di aesthetics of Ado-Ekiti praise poetry .
Wetin e talk. Full pack of royal epithets, di regular formula ẹ̀kejì Òrìṣà ("second to di deity," standard Yoruba royal claim say dem almost be like god), moon and light imagery for splendour, and particular dynastic name, Adélabú, Àjàṣorí, plus animal-authority epithets ("king of the multitude of animals") wey match di ẹranko-into-royal-praise pattern wey dem document for oriki-typology.
Significance. Dis na academic dissertation source, one of di texts wey dem document well-well for dis harvest orílẹ̀ material, from university department of English and Literary Studies, and e call di name of di dynasty specifically as di Adelabu Aroloye line of di Ewi of Ado-Ekiti .
As dem dey perform am. Royal court ceremonies, palace audience, chieftaincy installation, and annual cultural festivals including Udiroko and Ogun Ewi .
Notes. Di excerpt wey dem harvest cut for middle of sentence ("Offspring of Aroloye, King of the multitude of animals under his gaze. King, war-buffalo, of the essential foundation" for di gloss no get complete idiomatic translation for di material wey dem bring out), and dis corpus show di gap as e dey instead of to complete am.
Omo Olowo a i je ran edun; edun fori igi le le, o fi oru le sapo Iona Owo
Dem present am without tone marks, as dem print am for di source .
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 rooftops at Owo.
Oladipo Joseph Olugbadehan translate am from im doctoral study of Ọ̀wọ̀ as frontier Yoruba kingdom .
Wetin e talk. Totemic prohibition wey dem state as identity: Ọ̀wọ̀'s free-born citizens no dey chop monkey, and wetin happen as result, monkey wey tame and no dey fear wey dey live for roof for di town, dem present am as clear proof say di taboo na real.
Significance. Dis na documented case of oríkì orílẹ̀ wey encode particular dietary and totemic taboo as di main sign of lineage membership, pattern wey also dey for di Alápà lineage snake-totem material wey dis harvest bring out but wey dis corpus cut comot sake of say di source no reach (check di note on cuts inside oriki-index). Dem keep di Ọ̀wọ̀ text because di source na doctoral dissertation with named translator, wey reach dis corpus standard whereas di Alápà material no reach.
As dem dey perform am. During festivals including Igogo, civic ceremonies, royal gathering for Afin Olọ́wọ̀, and burial rites for big-name indigenes .
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,
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 abundant kola-nut owners...
Dem attribute am together to Adeboye Babalola Àwọn Oríkì Orílẹ̀ and academic lineage documentation wey join with Karin Barber scholarship; dem no mention any single translator apart from dis joint academic attribution .
Wetin e talk. Better life for house and wetin king dey provide as things wey dey show identity: fine mat instead of rough mat, plenty wealth from kolanut, and clear claim say Ọ̀wá's house servant dem dey carry fire go give farm workers so dat ordinary Ìjẹ̀ṣà people no go need strike match by themselves.
Wetin make am important. Dis text put Ìjẹ̀ṣà identity inside the soft life and plenty provision of everyday life under king support instead of fight-and-win power, na style wey different from the war-and-conquest focus wey common for the Ọ̀yọ́ and Ẹ̀gbá material for dis section, and e good to note am as documented example of how lineage or people fit choose to show different things first.
Wen dem dey perform am. During the Ìwúde Ọ̀wá festival, king coronation ceremony dem, chieftaincy installation dem, lineage reunion dem, and wedding dem .
Notes. How sure we sure about dis text dey middle: the translation na academic work wey dem compile instead of say na one specific person credit am, and the compiler no fit independently verify the source URL (one Scribd document listing) beyond wetin the record wey dem harvest report.
Ọmọ Oore l'Ọ́tùn N'jọ́ ẹnìkan purọ́ tó wọmọ Olóje l'óhun Ẹ l'ọ́n ní kò gbẹ́gi ha Kígi l'ójú, kígi l'ẹ́nu kìrìgì Ki 'gi m gẹngẹ aya kọmọ kọmọ
Offspring of the royal family at Otun. One day someone lied, pretending to be from the lineage of Oloje [owners of egungun]. They asked him to carve. The carving, they said, must depict the eyes and the mouth clearly, as well as a powerful chest.
Na Wande Abimbola and John Pemberton III translate am, for the chapter "In Praise of Artistry: Lágbayí, the Itinerant Wood Carver of Ọ̀jọ̀wọ́n," inside The Yoruba Artist: New Theoretical Perspectives on African Arts, wey Rowland Abiodun, Henry J. Drewal and John Pemberton III edit .
Wetin e talk. One story piece wey its shape no common: person falsely claim say im come from the Olóje lineage, the carvers wey dey make Egúngún masquerade figure dem, and dem test am say make im carve, with the specific technical requirements for good carving, eye wey dey express feeling, mouth wey clear, and fine chest wey stand out well, wey dem set as the proof wey go settle the matter.
Wetin make am important. Na dis text be the only text inside the harvested material for dis section wey make lineage oríkì depend on clear handwork skill wey person fit show instead of just birth, wealth, or war history alone: the hidden point na say true Olóje descent dey show for the carving itself, no be just by mouth say person belong there. E document how oríkì orílẹ̀ dey work as test for who genuinely belong as well as declaration of am. The chapter by Wande Abimbola and John Pemberton III put dis one inside the specific study of Lágbayí, one historical wood carver wey dem name wey dey travel waka do work, wey connect lineage oríkì directly to art-historical scholarship on how dem dey carve, one link wey 07-arts and 29-arts-deep look from the visual-art angle.
Wen dem dey perform am. King installation dem, community celebration dem, masquerade festival dem, communal lineage gathering dem, and family life-cycle ceremony dem including wedding dem .
Notes. Olóje here dey refer to the lineage wey dem recognize as hereditary custodians of Egúngún carving knowledge for Ọ̀tún; the corpus Egúngún material for 06-orisa/20-egungun.md and 23-orisa-deep/27-egúngún.md talk about the masquerade institution itself and person suppose check am for dat context, wey dis file no repeat again.
The praise poetry that attaches a person to a place of origin, why Yoruba people carry a town identity they may never have lived in, and how that identity crossed the Atlantic.
Lineage and town-of-origin oríkì for four major Yoruba groups, including two variant texts for Ọ̀fà shown side by side rather than merged.
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.
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.
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.
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.