Orí (Head) as an xxpression of Yorùbá aesthetic philosophy:
- Ajíbóyè, Olusegun, Fọlárànmí, Stephen, Umoru-Ọkẹ, Nanashaitu
- Authors: Ajíbóyè, Olusegun , Fọlárànmí, Stephen , Umoru-Ọkẹ, Nanashaitu
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146145 , vital:38499 , DOI https://doi.org/10.2478/mjss-2018-0115
- Description: Aesthetics was never a subject or a separate philosophy in the traditional philosophies of black Africa. This is however not a justification to conclude that it is nonexistent. Indeed, aesthetics is a day to day affair among Africans. There are criteria for aesthetic judgment among African societies which vary from one society to the other. The Yorùbá of Southwestern Nigeria are not different. This study sets out to examine how the Yorùbá make their aesthetic judgments and demonstrate their aesthetic philosophy in decorating their orí, which means head among the Yorùbá. The head receives special aesthetic attention because of its spiritual and biological importance. It is an expression of the practicalities of Yorùbá aesthetic values. Literature and field work has been of paramount aid to this study. The study uses photographs, works of art and visual illustrations to show the various ways the head is adorned and cared for among the Yoruba. It relied on Yoruba art and language as a tool of investigating the concept of ori and aesthetics. Yorùbá aesthetic values are practically demonstrable and deeply located in the Yorùbá societal, moral and ethical idealisms. It concludes that the spiritual importance of orí or its aesthetics has a connection which has been demonstratively established by the Yorùbá as epressed in the images and illustrations used in this paper.
- Full Text:
- Date Issued: 2018
- Authors: Ajíbóyè, Olusegun , Fọlárànmí, Stephen , Umoru-Ọkẹ, Nanashaitu
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146145 , vital:38499 , DOI https://doi.org/10.2478/mjss-2018-0115
- Description: Aesthetics was never a subject or a separate philosophy in the traditional philosophies of black Africa. This is however not a justification to conclude that it is nonexistent. Indeed, aesthetics is a day to day affair among Africans. There are criteria for aesthetic judgment among African societies which vary from one society to the other. The Yorùbá of Southwestern Nigeria are not different. This study sets out to examine how the Yorùbá make their aesthetic judgments and demonstrate their aesthetic philosophy in decorating their orí, which means head among the Yorùbá. The head receives special aesthetic attention because of its spiritual and biological importance. It is an expression of the practicalities of Yorùbá aesthetic values. Literature and field work has been of paramount aid to this study. The study uses photographs, works of art and visual illustrations to show the various ways the head is adorned and cared for among the Yoruba. It relied on Yoruba art and language as a tool of investigating the concept of ori and aesthetics. Yorùbá aesthetic values are practically demonstrable and deeply located in the Yorùbá societal, moral and ethical idealisms. It concludes that the spiritual importance of orí or its aesthetics has a connection which has been demonstratively established by the Yorùbá as epressed in the images and illustrations used in this paper.
- Full Text:
- Date Issued: 2018
Painting our stories and legacies: historical evidences through Nigerian paintings
- Fọlárànmí, Stephen, Umoru-Ọ̀kẹ, Nanashaitu, Adéyanjú, Ìdòwú F
- Authors: Fọlárànmí, Stephen , Umoru-Ọ̀kẹ, Nanashaitu , Adéyanjú, Ìdòwú F
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145908 , vital:38477 , http://www.ijhcs.com/index.php/ijhcs/article/view/3276
- Description: One of the functions art serves is to visually document history for generations to come. Even with the development of writing, the artists have continued to document various aspects of what they encounter in their various communities. In Nigeria with particular reference to painting, several artists have used their paintings as visual documentaries. The introduction of the camera as a tool for documenting did little to dissuade these painters from continuing this role. This paper therefore examined selected paintings of artists in Nigeria, whose works reveal historical evidences and culture of a people. Paintings cutting across the various genres such as portraits, landscapes scenes, architecture, festivals and cultural issues from pre-independence Nigeria to the present were selected for examination and analysis. The paper explores a descriptive and comparative analysis of the selected paintings vis-à-vis the various subjects they have recorded. It concludes that these paintings show significant historical evidences that can be used to reconstruct history and others aspects of the society where the need may arise. Painters in Nigeria more than other artists have been able to record history with their works because of the pictorial and compositional peculiarity of painting as an art form.
- Full Text:
- Date Issued: 2018
- Authors: Fọlárànmí, Stephen , Umoru-Ọ̀kẹ, Nanashaitu , Adéyanjú, Ìdòwú F
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145908 , vital:38477 , http://www.ijhcs.com/index.php/ijhcs/article/view/3276
- Description: One of the functions art serves is to visually document history for generations to come. Even with the development of writing, the artists have continued to document various aspects of what they encounter in their various communities. In Nigeria with particular reference to painting, several artists have used their paintings as visual documentaries. The introduction of the camera as a tool for documenting did little to dissuade these painters from continuing this role. This paper therefore examined selected paintings of artists in Nigeria, whose works reveal historical evidences and culture of a people. Paintings cutting across the various genres such as portraits, landscapes scenes, architecture, festivals and cultural issues from pre-independence Nigeria to the present were selected for examination and analysis. The paper explores a descriptive and comparative analysis of the selected paintings vis-à-vis the various subjects they have recorded. It concludes that these paintings show significant historical evidences that can be used to reconstruct history and others aspects of the society where the need may arise. Painters in Nigeria more than other artists have been able to record history with their works because of the pictorial and compositional peculiarity of painting as an art form.
- Full Text:
- Date Issued: 2018
Palace Courtyards in Iléṣà: a melting point of traditional Yorùbá architecture
- Fọlárànmí, Stephen, Adémúlẹyá, Babásẹhìndè
- Authors: Fọlárànmí, Stephen , Adémúlẹyá, Babásẹhìndè
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145873 , vital:38474 , https://news.clas.ufl.edu/palace-courtyards-in-ile%E1%B9%A3a-a-melting-point-of-traditional-yoruba-architecture/
- Description: The Yorùbá courtyard is an important architectural space in traditional Yorùbá architecture that has not received adequate scholarly attention. This paper examines the courtyards in the palace of certain chiefs and Ọwá Obòkun in Iléṣà, in southwest Nigeria. Fieldwork identified about ten courtyards in the palace of the Ọwá, four in the Rísàwè palace, and two in the palaces of the Léjọkà and Ọdọlé of Iléṣà. It uses these courtyards as models for courtyards in Yorùbá architecture. The study revealed that most of the courtyards in the Ọwá’s palace are generally not used for one specific function, though some are used mainly for religious purposes. The courtyards in the palaces of the chiefs are more functional, and better maintained than those of the Ọwá’s palace. The paper concludes that—considering their ancient and social function—the courtyards form a melting point within Yorùbá architecture. It suggests that efforts be made to ensure that the existing courtyards in these palaces are designated as landmark architecture and properly cared for to serve as tourist attractions.
- Full Text:
- Date Issued: 2018
- Authors: Fọlárànmí, Stephen , Adémúlẹyá, Babásẹhìndè
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145873 , vital:38474 , https://news.clas.ufl.edu/palace-courtyards-in-ile%E1%B9%A3a-a-melting-point-of-traditional-yoruba-architecture/
- Description: The Yorùbá courtyard is an important architectural space in traditional Yorùbá architecture that has not received adequate scholarly attention. This paper examines the courtyards in the palace of certain chiefs and Ọwá Obòkun in Iléṣà, in southwest Nigeria. Fieldwork identified about ten courtyards in the palace of the Ọwá, four in the Rísàwè palace, and two in the palaces of the Léjọkà and Ọdọlé of Iléṣà. It uses these courtyards as models for courtyards in Yorùbá architecture. The study revealed that most of the courtyards in the Ọwá’s palace are generally not used for one specific function, though some are used mainly for religious purposes. The courtyards in the palaces of the chiefs are more functional, and better maintained than those of the Ọwá’s palace. The paper concludes that—considering their ancient and social function—the courtyards form a melting point within Yorùbá architecture. It suggests that efforts be made to ensure that the existing courtyards in these palaces are designated as landmark architecture and properly cared for to serve as tourist attractions.
- Full Text:
- Date Issued: 2018
This is our story: iconography of carved doors and panels in Òyó Palace
- Authors: Fọlárànmí, Stephen
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145698 , vital:38459 , https://0-doi.org.wam.seals.ac.za/10.1162/afar_a_00402
- Description: This saying or prayer is one of the numerous expressions among the Yorùbá about the door and its significance, not only as a physical and important aspect of their architecture, but also in their language and culture. It also alludes to its pride of place as perhaps the most decorated element of Yorùbá architecture. From private homes, to the homes of the rich, shrines, and palaces, Yorùbá doors are usually imbued with a considerable array of images and icons that proclaims the owner's identity, religion, occupation. The Yorùbá are not unique in this respect. For example, among the Dogon, the door is as important as the house on which it is affixed. The granary, according to Willett (2002: 176), protects the the food stored inside it, while the door is seen or referred to as an element not only for physical protection, but also as a spiritual means of warding off unwanted spirits. It is reasonable, therefore, to expect the door to receive aesthetic attention by embellishment with an array of images.
- Full Text:
- Date Issued: 2018
- Authors: Fọlárànmí, Stephen
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145698 , vital:38459 , https://0-doi.org.wam.seals.ac.za/10.1162/afar_a_00402
- Description: This saying or prayer is one of the numerous expressions among the Yorùbá about the door and its significance, not only as a physical and important aspect of their architecture, but also in their language and culture. It also alludes to its pride of place as perhaps the most decorated element of Yorùbá architecture. From private homes, to the homes of the rich, shrines, and palaces, Yorùbá doors are usually imbued with a considerable array of images and icons that proclaims the owner's identity, religion, occupation. The Yorùbá are not unique in this respect. For example, among the Dogon, the door is as important as the house on which it is affixed. The granary, according to Willett (2002: 176), protects the the food stored inside it, while the door is seen or referred to as an element not only for physical protection, but also as a spiritual means of warding off unwanted spirits. It is reasonable, therefore, to expect the door to receive aesthetic attention by embellishment with an array of images.
- Full Text:
- Date Issued: 2018
A tree cannot make a forest: looking inward, reaching out in African Art Studies
- Authors: Fọlárànmí, Stephen
- Date: 2019
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146090 , vital:38494 , https://0-doi.org.wam.seals.ac.za/10.1162/afar_a_00453
- Description: These proverbs from the Yorùbá of southwestern Nigeria and the Bemba of Zambia are a few examples that can be found in many Africa languages. While these proverbs are rich in philosophical sayings and muses, many are being forgotten because fewer and fewer people possess deep knowledge of languages, and in the arts, Africans tend to look to the Global North for theoretical frameworks to examine their art and other cultural properties. The title of this piece is therefore an identification with the potency of the proverbs because of the trends of collaboration that I have noticed in the last few years in African Art Studies. It could also be said to be a call to look into what could be shared within Global Souths in terms of an available knowledge base that could be used to forge ahead rather than subjecting thoughts and knowledge to the Global North.
- Full Text:
- Date Issued: 2019
- Authors: Fọlárànmí, Stephen
- Date: 2019
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146090 , vital:38494 , https://0-doi.org.wam.seals.ac.za/10.1162/afar_a_00453
- Description: These proverbs from the Yorùbá of southwestern Nigeria and the Bemba of Zambia are a few examples that can be found in many Africa languages. While these proverbs are rich in philosophical sayings and muses, many are being forgotten because fewer and fewer people possess deep knowledge of languages, and in the arts, Africans tend to look to the Global North for theoretical frameworks to examine their art and other cultural properties. The title of this piece is therefore an identification with the potency of the proverbs because of the trends of collaboration that I have noticed in the last few years in African Art Studies. It could also be said to be a call to look into what could be shared within Global Souths in terms of an available knowledge base that could be used to forge ahead rather than subjecting thoughts and knowledge to the Global North.
- Full Text:
- Date Issued: 2019
Re-Inventing African literature through Visual Arts:
- Fọlárànmí, Stephen, Ijisakin, Eyitayo Tolulope
- Authors: Fọlárànmí, Stephen , Ijisakin, Eyitayo Tolulope
- Date: 2019
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146132 , vital:38498 , DOI https://doi.org/10.2478/mjss-2019-0054
- Description: Evidence abounds of the synergy that exists between literature and visual arts in Africa. Illustrations are known to have given more meaning to books, while the text plays the role of the storyteller, the illustration acts out the story or scene on the pages of the book. Illustrations also make readership very easy and appealing to children and the uneducated people in our local communities. In recent times however, studies have shown a sharp decline in the inclusion of very good, insightful and inspiring illustrations into African literary text. When included, it is often poor and limited to the cover page of the book. This paper examines the merits derivable from the inclusion of visual arts into African literature as well as the reason for its decline with a view to suggesting how it can be used to reinvent African literature. It is expected that by so doing, publishers and authors will see the need and importance of using more illustrations in their books. This will, in turn, generate more interest in the culture of reading among the youths of the 21st century as well as the development of literature directed towards children and the unread.
- Full Text:
- Date Issued: 2019
- Authors: Fọlárànmí, Stephen , Ijisakin, Eyitayo Tolulope
- Date: 2019
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146132 , vital:38498 , DOI https://doi.org/10.2478/mjss-2019-0054
- Description: Evidence abounds of the synergy that exists between literature and visual arts in Africa. Illustrations are known to have given more meaning to books, while the text plays the role of the storyteller, the illustration acts out the story or scene on the pages of the book. Illustrations also make readership very easy and appealing to children and the uneducated people in our local communities. In recent times however, studies have shown a sharp decline in the inclusion of very good, insightful and inspiring illustrations into African literary text. When included, it is often poor and limited to the cover page of the book. This paper examines the merits derivable from the inclusion of visual arts into African literature as well as the reason for its decline with a view to suggesting how it can be used to reinvent African literature. It is expected that by so doing, publishers and authors will see the need and importance of using more illustrations in their books. This will, in turn, generate more interest in the culture of reading among the youths of the 21st century as well as the development of literature directed towards children and the unread.
- Full Text:
- Date Issued: 2019
"Knowing With": New Rhodes Board Navigates Collaboration, Intimacy, and Solidarity
- Baasch, Rachel M, Fọlárànmí, Stephen, Koide, Emi, Kakande, Angelo, Simbao, Ruth K
- Authors: Baasch, Rachel M , Fọlárànmí, Stephen , Koide, Emi , Kakande, Angelo , Simbao, Ruth K
- Date: 2020
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147514 , vital:38645 , https://doi.org/10.1162/afar_a_00523
- Description: Rhodes University (or UCKAR), based in Makhanda, South Africa, joined the African Arts editorial consortium in 2016 and its first journal issue—vol. 50, no. 2—was published in 2017. Initially the board was run by Ruth Simbao, with the aim of developing collaborations with other scholars, particularly those based on the African continent and within the global south (Simbao 2017: 1). For the second Rhodes issue (Summer 2018), Simbao worked with Guest Board Member Amanda Tumusiime from Makerere University, and for the third Rhodes issue (Summer 2019) she collaborated with Stephen Folárànmí from Obáfémi Awólówò University, Ilé-Ifè, Nigeria, who at the time was a Postdoctoral Fellow at Rhodes.
- Full Text:
- Date Issued: 2020
- Authors: Baasch, Rachel M , Fọlárànmí, Stephen , Koide, Emi , Kakande, Angelo , Simbao, Ruth K
- Date: 2020
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147514 , vital:38645 , https://doi.org/10.1162/afar_a_00523
- Description: Rhodes University (or UCKAR), based in Makhanda, South Africa, joined the African Arts editorial consortium in 2016 and its first journal issue—vol. 50, no. 2—was published in 2017. Initially the board was run by Ruth Simbao, with the aim of developing collaborations with other scholars, particularly those based on the African continent and within the global south (Simbao 2017: 1). For the second Rhodes issue (Summer 2018), Simbao worked with Guest Board Member Amanda Tumusiime from Makerere University, and for the third Rhodes issue (Summer 2019) she collaborated with Stephen Folárànmí from Obáfémi Awólówò University, Ilé-Ifè, Nigeria, who at the time was a Postdoctoral Fellow at Rhodes.
- Full Text:
- Date Issued: 2020
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