Yoruba Oral Traditions and Communal Aesthetics in Olu Obafemi’s Selected Drama
The history of African oral literature is located in oral tradition which is tied to communal living. African oral literature is a conglomerate of communal traditions that reflect African culture, experiences, and societies. Studies affirmed that Olu Obafemi’s ideological stance and investigation o...
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Department of General Studies, Afe Babalola University, Ado-Ekiti
2024-12-01
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| Series: | ABUAD Journal of the Humanities-AGIDIGBO |
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| Online Access: | https://journals.abuad.edu.ng/index.php/agidigbo/article/view/1176 |
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| author | Olanipekun Emmanuel Abe |
| author_facet | Olanipekun Emmanuel Abe |
| author_sort | Olanipekun Emmanuel Abe |
| collection | DOAJ |
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The history of African oral literature is located in oral tradition which is tied to communal living. African oral literature is a conglomerate of communal traditions that reflect African culture, experiences, and societies. Studies affirmed that Olu Obafemi’s ideological stance and investigation of the society is revolutionary and is geared towards seminal social change. This paper examines the aesthetics of oral literature, and explores the society through the prism of Olu Obafemi’s Naira Has No Gender and Scapegoats and Sacredcows by highlighting the different explication of oral forms portrayed by the dramatist. The paper reveals the writer's ideological disposition and vision as informed by his discursive engagement of larger issues through various oratory means. The placement of Nigerian songs and dance, proverbs, role-play technique, and audience participation are identified as signposts of Nigerian oral literature. The paper adopts Cultural Studies theory as its theoretical paradigm for its capacity to analyse and provides an assessment of the contributions that cultural practices and artifacts make to the society. This study reveals how African oral literature combines traditional and modern theatrical techniques to sustain communal living and cultural practices such as veneration, education, and moral instruction.
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| format | Article |
| id | doaj-art-6e4d643bb9df4b11a5d59e7a87cad11f |
| institution | DOAJ |
| issn | 3043-4475 |
| language | English |
| publishDate | 2024-12-01 |
| publisher | Department of General Studies, Afe Babalola University, Ado-Ekiti |
| record_format | Article |
| series | ABUAD Journal of the Humanities-AGIDIGBO |
| spelling | doaj-art-6e4d643bb9df4b11a5d59e7a87cad11f2025-08-20T02:48:30ZengDepartment of General Studies, Afe Babalola University, Ado-EkitiABUAD Journal of the Humanities-AGIDIGBO3043-44752024-12-0112210.53982/agidigbo.2024.1202.40-jYoruba Oral Traditions and Communal Aesthetics in Olu Obafemi’s Selected DramaOlanipekun Emmanuel Abe 0Department of Languages and Literary Studies, Afe Babalola University, Ado-Ekiti, Ekiti State The history of African oral literature is located in oral tradition which is tied to communal living. African oral literature is a conglomerate of communal traditions that reflect African culture, experiences, and societies. Studies affirmed that Olu Obafemi’s ideological stance and investigation of the society is revolutionary and is geared towards seminal social change. This paper examines the aesthetics of oral literature, and explores the society through the prism of Olu Obafemi’s Naira Has No Gender and Scapegoats and Sacredcows by highlighting the different explication of oral forms portrayed by the dramatist. The paper reveals the writer's ideological disposition and vision as informed by his discursive engagement of larger issues through various oratory means. The placement of Nigerian songs and dance, proverbs, role-play technique, and audience participation are identified as signposts of Nigerian oral literature. The paper adopts Cultural Studies theory as its theoretical paradigm for its capacity to analyse and provides an assessment of the contributions that cultural practices and artifacts make to the society. This study reveals how African oral literature combines traditional and modern theatrical techniques to sustain communal living and cultural practices such as veneration, education, and moral instruction. https://journals.abuad.edu.ng/index.php/agidigbo/article/view/1176African oral literatureCommunal traditiondramacultural studiesextensive dramaturgy |
| spellingShingle | Olanipekun Emmanuel Abe Yoruba Oral Traditions and Communal Aesthetics in Olu Obafemi’s Selected Drama ABUAD Journal of the Humanities-AGIDIGBO African oral literature Communal tradition drama cultural studies extensive dramaturgy |
| title | Yoruba Oral Traditions and Communal Aesthetics in Olu Obafemi’s Selected Drama |
| title_full | Yoruba Oral Traditions and Communal Aesthetics in Olu Obafemi’s Selected Drama |
| title_fullStr | Yoruba Oral Traditions and Communal Aesthetics in Olu Obafemi’s Selected Drama |
| title_full_unstemmed | Yoruba Oral Traditions and Communal Aesthetics in Olu Obafemi’s Selected Drama |
| title_short | Yoruba Oral Traditions and Communal Aesthetics in Olu Obafemi’s Selected Drama |
| title_sort | yoruba oral traditions and communal aesthetics in olu obafemi s selected drama |
| topic | African oral literature Communal tradition drama cultural studies extensive dramaturgy |
| url | https://journals.abuad.edu.ng/index.php/agidigbo/article/view/1176 |
| work_keys_str_mv | AT olanipekunemmanuelabe yorubaoraltraditionsandcommunalaestheticsinoluobafemisselecteddrama |