Oríkì · Ìpilẹ̀ṣẹ̀

Oríkì

Oríkì tí a kójọ nípasẹ̀ ìwádìí ẹ̀rọ, tí a kò tí ì ṣàyẹ̀wò. Gbogbo ohun tí ó wà lórí ojú-ìwé yìí kò tí ì ní ìjẹ́rìí: a fi hàn kí a lè ṣàyẹ̀wò rẹ̀, kì í ṣe nítorí pé a ti ṣàyẹ̀wò rẹ̀.

Ohun 95, gbogbo rẹ̀ kò tí ì ní ìjẹ́rìí

Nínú corpus

Oríkì: The SectionOriki

Àkójọ tí kò tí ì ní ìjẹ́rìí

Ojú-ìwé yìí nìkan ni ibi tí a ti fi ohun tí a kò tí ì ṣàyẹ̀wò hàn nínú àkójọpọ̀ yìí. Ìdí nìyẹn tí a fi yà á sọ́tọ̀, kò sì sí ohun tí ó yẹ kí a fa yọ láti inú rẹ̀ bí ẹni pé a ti fi ìdí rẹ̀ múlẹ̀.

A kójọ rẹ̀ pẹ̀lú ẹ̀rọ, a kò sì tí ì ṣàyẹ̀wò rẹ̀. Àwọn àmì ohùn, ìdárúkọ àti ọ̀rọ̀ rẹ̀ ṣì nílò àyẹ̀wò sí orísun tí a dárúkọ kí a tó lè gbáralé rẹ̀.

Gbogbo irú egbe 1 eranko 1 ilu 11 inagije 3 orile 24 orisa 44 personal 11

Èṣù (Yoruba deity of crossroads, mediation, and cosmic order)
orisaÀkójọ tí kò tí ì ní ìjẹ́rìí
Ìpilẹ̀
Èṣù ṣe rere kò burú, ṣe burúkú kò rere. B'inú bá b'Èṣù a f'òkúta lu'lẹ̀ d'ẹ́jẹ̀. B'inú bá b'Èṣù a jókòó sórí awọ èèrà. B'inú bá b'Èṣù a sunkún ẹ̀jẹ̀. Èṣù sùn nínú ilé, ilé kéré fún un. Èṣù sùn lórí ìbàdẹ́, ìbàdẹ́ kéré fún un. Èṣù sùn nínú èso kékeré kan, nígbẹ̀yìn-gbẹ́yín ó tẹ́ ẹsẹ̀ rẹ̀ nà.
Ìtumọ̀ ọ̀rọ̀-sí-ọ̀rọ̀
- Eshu makes good not bad, makes bad not good. If anger seizes Eshu he strikes stone ground to blood. If anger seizes Eshu he sits on skin of ant. If anger seizes Eshu he weeps tears of blood. Eshu slept inside house, house small for him. Eshu slept on veranda, veranda small for him. Eshu slept inside tiny nut, at last he stretched his feet.
Ìtumọ̀ Gẹ̀ẹ́sì
Eshu turns right into wrong, wrong into right. When he is angry, he hits a stone until it bleeds. When he is angry, he sits on the skin of an ant. When he is angry, he weeps tears of blood. Eshu slept in the house, but the house was too small for him. Eshu slept on the verandah, but the verandah was too small for him. Eshu slept in a nut, at last he could stretch himself.
Ẹni tí ó túmọ̀ rẹ̀ Rowland Abiodun
The oríkì encapsulates the paradoxical, dialectical, and transformative essence of Èṣù as the divine mediator of cosmic forces, whose nature transcends physical containment and conventional moral binaries.
Ìgbà tí a ń pa á
During annual òrìṣà rituals, Ifá divination consultations, and before addressing other deities at communal shrines and crossroads.

Wínyọmí (Hunter, lineage founder, and historic 'Big Man' of Okuku)

personalÀkójọ tí kò tí ì ní ìjẹ́rìí

Ìpilẹ̀

Wínyọmí Ẹnipeede, Olórí Ọdẹ; Arẹ́mú, a d'ọ̀nà má yẹ̀; Ẹnipeede, ẹni tí ń f'ọ́jọ́ s'íkùn ọ̀lẹ; Àlàmú ní 'Bí o bá bọ́ s'óro ẹgbàáwó', ó ní 'Bàbá rẹ gan-an á gb'érè nínú àmúwá'; Aṣọ òyìnbó kò f'orí tì í tọ́, Wínyọmí ní 'ohun tí ó dára fún ni...'

Ìtumọ̀ ọ̀rọ̀-sí-ọ̀rọ̀

Winyomi Enipeede, Leader of Hunters; Aremu, one who blocks path not budge; Enipeede, one who puts fear into liver of coward; Alamu said 'If you fall into trouble of two thousand cowries', he said 'Father your own will take share inside settlement'; Cloth of white man not endure long, Winyomi said 'thing that it is good for is...'

Ìtumọ̀ Gẹ̀ẹ́sì

Winyomi Enipeede, Head of the Hunters; Aremu, blocks the road and doesn't budge; Enipeede, one who fills the coward with apprehension; Alamu said 'If you get into trouble to the tune of two thousand cowries', he said 'Your own father will take his cut of the settlement'; European cloth does not wear well, Winyomi said 'what it is good for is...'

Ẹni tí ó túmọ̀ rẹ̀ Karin Barber

Recounts the power, stubborn bravery, wealth, and judicial arbitration of Wínyọmí, a prominent historic warrior and hunter in Okuku.

Ìgbà tí a ń pa á: During lineage commemorations, weddings, chieftaincy celebrations, funeral ceremonies, and festival gatherings.
Ẹni tí ó ń pa á: Female oral poets and family chant performers (awọn obìnrin ilé)
Ìdílé tàbí ìlú: Ilé Ọdẹ, Okuku (Ọ̀yọ́/Òsun region)
Àwọn ìyàtọ̀: Recorded with variable segment ordering across different chant recitals in Okuku

Ọ̀lọ́fà and the People of Ọ̀fà (Oríkì Orílẹ̀)

orileÀkójọ tí kò tí ì ní ìjẹ́rìí

Ìpilẹ̀

Ọ̀lọ́fà ọmọ laare / Ìjàkàdì l'ooro t'Ọ̀fà / Ọ̀lọ́fà lónìí omẹlẹ, gbẹ̀ngbẹlẹkù l'aráyókù san / Ọmọ Ọlálọmí / Láare, búure / Ìyeru b'ọ́kan-an júkàn / Nílé Ọlálọmí / Ìjàkàdì l'òrò t'Ọ̀fà

Ìtumọ̀ ọ̀rọ̀-sí-ọ̀rọ̀

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

Ìtumọ̀ Gẹ̀ẹ́sì

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.

Ẹni tí ó túmọ̀ rẹ̀ 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.

Ìgbà tí a ń pa á: Recited by senior women during weddings, lineage gatherings, chieftaincy ceremonies, and civic assemblies
Ẹni tí ó ń pa á: Senior lineage women (ìyálé / àgbà obìnrin)
Ìdílé tàbí ìlú: Ọ̀fà / lineages settled across Odo-Ọtin and surrounding towns
Àwọn ìyàtọ̀: Recorded in variant lengths by Adeboye Babalola (2000, 'Àwọn Oríkì Orílẹ̀ Mẹ́tàdínlọ́gbọ̀n') and Karin Barber (1991)

Òṣogbo (Ọ̀rọ̀kí Asàlá)

iluÀkójọ tí kò tí ì ní ìjẹ́rìí

Ìpilẹ̀

Òṣogbo Ọ̀rọ̀kí aṣàlá, ọmọ onílé obì Òṣogbo ìlú aró, ọmọ aró dẹ́dẹ́ bí òkun Ààrẹ ó pẹ́ta, àrepẹta mo gbà ó Òṣun Òṣogbo pẹ̀lẹ́ o, ẹ pẹ̀lẹ́ o ẹ̀yin ọlọ́mọyọyọ Òṣogbo Ọ̀rọ̀kí gbé onílé, ó tún gbé àjòjì Òṣogbo Ọ̀rọ̀kí ọmọ yèyé Òṣun Yèyé atẹ́wọ́gbẹ́ja, aníyùn lábẹ́bẹ Ọ̀rọ̀kí tí í bá ẹja ńlá sọ̀rọ̀, tí ń rán ìkọ̀ níṣẹ́ Òṣun Òṣogbo, rere ni o sun fún mi Ọ̀rọ̀kí onílé obì, aláró ọmọ aṣàlá Èdùmàrè bá wa dá ìlú Òṣogbo sí, Àṣẹ.

Ìtumọ̀ ọ̀rọ̀-sí-ọ̀rọ̀

Osogbo Oroki the refuge, offspring of the owner of kolanut lands; Osogbo town of indigo dye, child of deep-spreading dye like the sea; Aare killed civet cat, civet killer I accept; Osun Osogbo greetings, greetings to the mother of many children; Osogbo Oroki sustains the indigene, it also sustains the stranger; Osogbo Oroki children of mother Osun; Mother who receives fish in her palm, owner of coral on fan; Oroki that speaks with the great fish and sends emissaries; Osun Osogbo, flow goodness to me; Oroki owner of kolanuts, dyer child of sanctuary; May God preserve Osogbo town, Amen.

Ìtumọ̀ Gẹ̀ẹ́sì

Osogbo Oroki a refuge outpost, owner of a large kolanut farm; Osogbo, city of tie-dye, custodian of strong dye like a blue sea; whether the sojourner kills a civet cat or does not kill, it belongs to me; Osun Osogbo greetings to you, mother of many children; Osogbo Oroki accommodates both indigenes and foreigners alike; Osogbo Oroki, children of mother Osun, the matriarch who receives sacred fish in her open palm, who carries coral beads upon her fan; Oroki that converses with the giant fish and sends emissaries on errands; Osun Osogbo, let goodness flow unto me; Oroki owner of the kolanut grove, indigo dyer, child of refuge; May the Almighty preserve the city of Osogbo, Amen.

Ẹni tí ó túmọ̀ rẹ̀ Edusocom / Yoruba Oral Literature Anthology

The oríkì celebrates the founding identity, economic life, and sacred geography of Osogbo (capital of Osun State), emphasizing its legacy in indigo dyeing (ìlú aró), extensive kolanut plantations, historic role as a peaceful sanctuary for migrants and refugees, and its primordial covenant with the goddess Ọ̀ṣun.

Ìgbà tí a ń pa á: Chanted at the annual Osun-Osogbo Festival, during the installation and anniversaries of the Ataoja of Osogbo, civic gatherings, funeral rites of prominent Osogbo citizens, and family celebrations.
Ẹni tí ó ń pa á: Community praise chanters (akéwì), palace bards, lineage elders, and indigenous women chanters.
Ìdílé tàbí ìlú: Osogbo, Osun State
Àwọn ìyàtọ̀: Osogbo Oroki Asala Onile Obi / Osogbo ilu Aro, Aro dede bi Okun / Are Op'eta, Are p'eta a gba / Osogbo Oroki gbe Onile o tun gbe Ajeji / Osogbo Oroki Omo yeye Osun / Yeye Atewogbeja Aniyun Labebe / Eleyele Aro, Olode Ega...

Ọ̀ṣun (Yèyé Òṣun / River Deity of Osun)

orisaÀkójọ tí kò tí ì ní ìjẹ́rìí

Ìpilẹ̀

Ore yèyé Òṣun Òṣun sẹ̀ngẹ̀sẹ̀, Olóríyà ìyùn, Arẹwà obìnrin Òṣun oyèyè nímọ̀, Awẹ́dẹ wẹ̀mọ́ Yèyé mi olọ́wọ́ aró, Yèyé mi ẹlẹ́sẹ̀ osùn Yèyé mi ajímọ̀rọ̀rọ̀, Yèyé mi abímọ má yànkú Yèyé mi alágbo àwòyè Elétí gbáròyé, Ọ̀gbàgbà tí ń gba ọmọ rẹ̀ lọ́jọ́ ìjà Arí bání gbò nípa t'ọmọ Òṣun oníkíi, Afìdẹ rẹmọ Apẹ́níbú s'ọlá, Apẹ́lódò s'ọ̀rọ̀ ọmọ Òṣun ẹni idẹ kì í sú, Amọ̀ àwò má rò Ó wá yànrìn wá yànrìn k'ówó sí Gbadamu-gbadamu obìnrin kò ṣeé gbámú Obìnrin tó gbóná j'ọkùnrin lọ Omi a mọ̀ rìn, omi a mọ̀ o sùn Ore yèyé gbà mí, ẹni a ní ní ń gbani.

Ìtumọ̀ ọ̀rọ̀-sí-ọ̀rọ̀

Gracious mother Osun; Osun the elegant, owner of coral comb, beautiful woman; Osun abundant in knowledge, who cleanses brass and washes children; My mother with indigo-dyed hands, my mother with camwood feet; My mother who wakes in radiant freshness, my mother who bears children that do not die; My mother possessor of healing medicinal infusions; Attentive listener to complaints, mighty rescuer of her child in the day of fight; One who takes care of people in child affairs; Osun onikii, who soothes children with brass; Who stays in the depths to create wealth, who stays in the river to settle child affairs; Osun whom brass ornaments never tire, who knows cult secrets but reveals them not; She sifts sand and buries wealth therein; Formidable massive woman who cannot be conquered; Woman fiercer than men; Water that knows how to flow, water that knows how to sleep; Gracious mother deliver me, it is the one we have that saves us.

Ìtumọ̀ Gẹ̀ẹ́sì

Mother Osun! Praise to the mother of mystery, the one who possesses a comb crafted of coral beads, the beautiful woman; Osun the fountain of deep wisdom, who cleanses brass and purifies children inside and out; My mother with hands colored by indigo dye, my mother with feet beautified with camwood, my mother who wakes early in pristine radiance; My mother whose children never die, owner of the life-giving herbal decoction; Ever-ready listener to pleas, great savior who rescues her children in battle, she who cares for one concerning children; Osun who soothes children with bronze and brass, who dwells in the waters generating wealth, who resides in the river to care for infants; Osun who never tires of wearing brass bracelets, who knows the secrets of the cults without disclosing them; She who grazes the sands and buries riches therein; Powerful, formidable woman who cannot be overcome, strong woman more fierce than men; Flowing water that never ceases, resting water that knows how to calm; Gracious Mother, protect me! It is our own protector who delivers us.

Ẹni tí ó túmọ̀ rẹ̀ Yoruba Library Editorial Board / Adepoju & Cultural Literature Studies

Invokes the multi-dimensional power of the goddess Ọ̀ṣun as the protector of motherhood, giver of fertile waters, keeper of herbal healing remedies (àgbo), custodian of hidden wisdom and wealth (represented by brass and coral), and a fierce protectress of her devotees.

Ìgbà tí a ń pa á: Performed during the annual Osun-Osogbo sacred grove processions, during weekly shrine worship (ọ̀sẹ̀), naming ceremonies of children born through Ọ̀ṣun's intervention, and spiritual cleansing rituals.
Ẹni tí ó ń pa á: Priestesses of Osun (Ìyá Òṣun), Awòrò Òṣun, the votive maiden (Àrúgbá), and initiates of the Ọ̀ṣun cult.
Ìdílé tàbí ìlú: Osogbo, Osun State (and riverine Ọ̀ṣun shrines across Yorubaland)
Àwọn ìyàtọ̀: Ore yeye Osun / Osun sengese Oloriya iyun... / Osun oyeye nimo / Yeye mi olowo aro

Ọ̀yọ́ lineage and town origin

orileÀkójọ tí kò tí ì ní ìjẹ́rìí

Ìpilẹ̀

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...

Ìtumọ̀ ọ̀rọ̀-sí-ọ̀rọ̀

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...

Ìtumọ̀ Gẹ̀ẹ́sì

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...

Ẹni tí ó túmọ̀ rẹ̀ 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.

Ìgbà tí a ń pa á: Performed during traditional life transitions including marriages (especially bride's lament and departure songs), funerals, civic celebrations, lineage gatherings, and religious festivals.
Ẹni tí ó ń pa á: Sangowemi (and traditional female praise chanters / oloríkì)
Ìdílé tàbí ìlú: Ọ̀yọ́ (Ọ̀yọ́-Ilé / Old Ọ̀yọ́ stock)

Ẹ̀gbá

orileÀkójọ tí kò tí ì ní ìjẹ́rìí

Ìpilẹ̀

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.

Ìtumọ̀ ọ̀rọ̀-sí-ọ̀rọ̀

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.

Ìtumọ̀ Gẹ̀ẹ́sì

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.

Ẹni tí ó túmọ̀ rẹ̀ 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.

Ìgbà tí a ń pa á: 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.
Ẹni tí ó ń pa á: Lineage praise-singers (akéwì, onírárà), traditional palace bards, griots, drummers (onílù), and community elders.
Ìdílé tàbí ìlú: Ẹ̀gbá (Abeokuta, Ogun State, Nigeria)
Àwọn ìyàtọ̀: 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.

Ewi of Ado-Ekiti (Adelabu Aroloye Dynasty) / Ado-Ekiti Royal Lineage

orileÀkójọ tí kò tí ì ní ìjẹ́rìí

Ìpilẹ̀

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.

Ìtumọ̀ ọ̀rọ̀-sí-ọ̀rọ̀

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.

Ìtumọ̀ Gẹ̀ẹ́sì

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.

Ẹni tí ó túmọ̀ rẹ̀ 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.

Ìgbà tí a ń pa á: Performed during royal court ceremonies, palace audiences, chieftaincy installations, and annual cultural festivals such as Udiroko and Ogun Ewi.
Ẹni tí ó ń pa á: Alamo chant performers, royal bards, and court praise singers.
Ìdílé tàbí ìlú: Ado-Ekiti, Ekiti State
Àwọn ìyàtọ̀: O sak'erekere l'ode Ukere, O rin gbaragbara l'ode Ugbara, O gb'Ologotun pon yin, B'Orunaja wijo

Ado-Ekiti Town (Panegyric of Ado-Ekiti Indigenes)

iluÀkójọ tí kò tí ì ní ìjẹ́rìí

Ìpilẹ̀

Ado Oraa, Omo Alade merindinlogun. Omo erin ti i jogun ola. Omo erin ti i mola yagi. Omo abatabutu alejo tii damu onile. Oro ti n d'Ekiti ni i d'Ado Ewi, Oro to n dagbo ni i dunwo agbo. Ero ti n r'Ekiti, Ko ba ni ya l'Ado Ewi, Bo ba ti d'Ajilosun ko bu sanra, Tori Afinju ni gbogbo won. Omo Abidan so pupo lobi, Abidan n be leti Ajilosun. Ojo Ewi ba lo s'Utu laworo Otu n la. Taso tewu t'Ewi i mu lo s'Utu, Otu ni i gbe e si. Omo o sun sile mabe dina lona ogun.

Ìtumọ̀ ọ̀rọ̀-sí-ọ̀rọ̀

Ado of Oraa, children of the sixteen crowned monarchs. Offspring of the elephant that inherits honor. Offspring of the elephant that tears down trees in glory. Offspring of the multitude of visitors who confound the host. Matters affecting Ekiti also affect Ado of the Ewi, issues affecting the assembly enhance the gathering. Travelers going to Ekiti, if they stop by at Ado Ewi, once they reach Ajilosun they blossom, because they are neat and noble. Offspring of Abidan who bears plentiful kola nuts, Abidan near Ajilosun. The day the Ewi goes to Utu the priest of Otu prospers. The robes and attire the Ewi takes to Utu remain at Otu. Offspring of those who sleep at home while wielding knives to block the path of war.

Ìtumọ̀ Gẹ̀ẹ́sì

Ado of Oraa, descendants of the sixteen crowned kings of Ekiti. Children of the mighty elephant that inherits honor and splits trees in dignity. Children of the overwhelming influx of guests that astounds the host. Whatever affects Ekiti touches Ado of the Ewi; matters affecting the flock bring vitality to the fold. Travelers passing through Ekiti who stop at Ado of the Ewi, upon reaching the Ajilosun quarter, flourish in health, for all of them are well-groomed and dignified people. Offspring of Abidan whose grove produces abundant kola nuts, situated right along the Ajilosun border. On the day the Ewi visits Utu, the sacred chief of Otu is enriched; the royal regalia and robes worn by the Ewi to Utu remain in Otu's possession. Children of the brave who rest at home yet keep weapons ready to bar invaders on the warpath.

Ẹni tí ó túmọ̀ rẹ̀ Yoruba Library Editorial and Research Translation Board

Eulogizes the historical supremacy, hospitality, aristocratic beauty, agrarian prosperity, and martial fortitude of the ancient town and people of Ado-Ekiti under the Ewi.

Ìgbà tí a ń pa á: Recited at civic assemblies, community development gatherings, chieftaincy ceremonies, festivals like the Udiroko Festival, and family occasions.
Ẹni tí ó ń pa á: Community elders, town bards, women chant leaders, and Alamo praise performers.
Ìdílé tàbí ìlú: Ado-Ekiti, Ekiti State
Àwọn ìyàtọ̀: Emi lomo Ado Oraa Omoafakara sabe ewu je

Oríkì

Èṣù (Yoruba deity of crossroads, mediation, and cosmic order)

Wínyọmí (Hunter, lineage founder, and historic 'Big Man' of Okuku)

Aláàfin of Òyó (Paramount Monarch of the Òyó Empire)

Ẹlẹ́mọ̀ṣọ́ Lineage (Òkè-Ìlá / Òkukù Ancestral Stock)

Individual Praise Sobriquets (Àkànbi / Borọ̀kìnní Appellations)

Ọ̀kà Àkókó Community

Òrìṣà (Ògún / Ṣàngó / Deities)

Wínyọmí (Founding Warrior & Leader of Òkukù)

Ẹgbẹ́ Ọ̀run (Astral Spirit Companions / Heavenly Peer Group)

Erin (The Elephant)

Marital dynamics and bride's negotiation of domestic transition (Rárà Ìyàwó / Erinlẹ̀ chant)

Akotipopo, child of Oguntonlowo (Lineage praise chant)

Ọ̀lọ́fà and the People of Ọ̀fà (Oríkì Orílẹ̀)

Òṣogbo (Ọ̀rọ̀kí Asàlá)

Ọ̀ṣun (Yèyé Òṣun / River Deity of Osun)

Ọ̀yọ́ lineage and town origin

Ẹ̀gbá

Ìjẹ̀bú (Ijebu people / lineage)

Ewi of Ado-Ekiti (Adelabu Aroloye Dynasty) / Ado-Ekiti Royal Lineage

Ado-Ekiti Town (Panegyric of Ado-Ekiti Indigenes)