Theatrical Traditions and Literature from the Continent of Africa.

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Internet archive is down and I’m unsure when it’ll come back online…..and that sucks because I have more than a few pages open on different books; particular to this thread are ones having to do with folklore, stories and theater.
 
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Yoruba tale of Sango and his three wives (while this narrative is by me, and as such I have taken certain liberties from the original story (while remembering there are several versions) this version hold true to the themes and undertones....it's also pretty much the same story with a few words added for poetic flair).

The griots weave their tales of old,
Of a mighty warrior, a magician bold,
Last of four divine kings in ages past,
He reigned for thirty years, his legacy vast.
Then, with heavens split, he took flight,
Three wives he cherished, each a jewel of light,
One for every ten years, a testament to love’s embrace,
First was the hibiscus, blooming with spring’s grace,
Ever faithful, ever loyal, her beauty so true,
He fell for her deeply, made her his wife anew.
Years of joy unfolded beneath the sun’s glow,
Until his heart wandered, drawn to another’s flow.
Younger and radiant, like a star in the day,
Ethereal as moonlight, she brightened his way,
He fell for her charm, made her his wife too,
Joy flourished again, but fate’s whispers ensued,
Until his gaze shifted, caught by a warrior's might,
A sorceress fierce, skilled in the mystic night.
He fell yet again, made her his wife in turn,
Years of joy blossomed, but soon sorrow would burn.
Loyal the first, steadfast from the start,
Languished in silence, longing through pains,
For the man who once filled her heart with sweet song,
In search of solace, she called on the second,
To learn how to reclaim the love she once traced.
The second, a vision of beauty turned cold,
Claimed she had feasted on his heart, a meal to behold,
Night after night, she served him delight,
So the first vowed the same, her love shining bright.
One fateful night, as the storm raged fierce,
She stepped forth, her heart to pierce,
With the third absent and the second still near,
She took on the role, though burdened with fear.
In secret, unseen, she cut from her ear,
Mixed it in with the meal, a sacrifice dear,
But the warrior sensed treachery, refused her sweet dish,
Accused her of deceit, he did, with a bitter wish.
In a fit of rage, with a flick of his hand,
He cast her to a stream, lost in a dream,
The river we now call Oba, where sorrows expand.
With fury still brewing, he turned to the second,
Accusing her too, with no mercy beckoned,
He made her a river, the one we call Oshun,
And found himself alone beneath a desolate moon.
In the stillness of silence, the void now complete,
He saw his loss, his heart faced defeat,
A great cry escaped him, for the love he had slain,
Then struck down by fire, consumed by the rain.
So the tale is told of Sango, proud and grand,
Last of the line of Oduduwa, ruler of the land,
The last of the divine kings, in fury and woe,
Was no more, swept away by the storm’s cruel flow.
 
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Ahem ... You know that unduly taking the place of a griot is a crime, don't You ?

🤭
nah, they can't reach me here, I'm an ocean and atleast a couple centuries away.....not scared
 
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A treasury of African folklore : the oral literature, traditions, myths, legends, epics, tales, recollections, wisdom, sayings, and humor of Africa by Courlander, Harold, 1908-1996

 
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"In Yoruba poetry, for instance, the native classification is not according to
subject-matter or structure but by the group to which the reciter belongs
and, in particular, by the technique of recitation and voice production.
Thus there is ijala (chanted by hunters in a high-pitched voice), rara (a slow,
wailing type of chant), and ewi (using a falsetto voice), and even though
the content of various types may often be interchangeable, a master in one
genre will not feel competent to perform a different type: he may know the words but cannot manage the necessary subtleties of tone and style and
the required type of voice production (Gbadamosi and Beier 1959: 9–10;
Babalọla 1966: vi, 23). Many other cases could also be cited where the mode
of performance is as significant for the native critic as actual content or
structure."

"These instances, furthermore, are only selective (and cover only poetry, not prose), and many others could have been added in a more comprehensive catalogue (see for instance the sung forms mentioned in Nketia 1962: Chs. 2, 3, 1963a). A similar
account could be given of Yoruba literature from Western Nigeria. In prose
there are stories of various kinds, riddles, proverbs, and praise appellations.
In poetry, the variety can be sufficiently illustrated by merely listing some of
the vernacular terms that describe different verse forms; esa, ewi, ijala, rara,
ofo, ogede, oriki, ogbere, ege, arofo, odu ifa
(see Babalola 1966: vi; Lasebikan 1956: 46, 48; Gbadamosi and Beier 1959))."


Finnegan, R. (1970). Oral literature of Africa.
 
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"In Yoruba poetry, for instance, the native classification is not according to
subject-matter or structure but by the group to which the reciter belongs
and, in particular, by the technique of recitation and voice production.
Thus there is ijala (chanted by hunters in a high-pitched voice), rara (a slow,
wailing type of chant), and ewi (using a falsetto voice), and even though
the content of various types may often be interchangeable, a master in one
genre will not feel competent to perform a different type: he may know the words but cannot manage the necessary subtleties of tone and style and
the required type of voice production (Gbadamosi and Beier 1959: 9–10;
Babalọla 1966: vi, 23). Many other cases could also be cited where the mode
of performance is as significant for the native critic as actual content or
structure."

"These instances, furthermore, are only selective (and cover only poetry, not prose), and many others could have been added in a more comprehensive catalogue (see for instance the sung forms mentioned in Nketia 1962: Chs. 2, 3, 1963a). A similar
account could be given of Yoruba literature from Western Nigeria. In prose
there are stories of various kinds, riddles, proverbs, and praise appellations.
In poetry, the variety can be sufficiently illustrated by merely listing some of
the vernacular terms that describe different verse forms; esa, ewi, ijala, rara,
ofo, ogede, oriki, ogbere, ege, arofo, odu ifa
(see Babalola 1966: vi; Lasebikan 1956: 46, 48; Gbadamosi and Beier 1959))."


Finnegan, R. (1970). Oral literature of Africa.

For the type of poetry labelled "Odu Ifa," the poems are actually called ęsę, which are verses of each Odu ifa. There is a 256 totality of Odu's which are derived from 16 primary Odu. Each Odu contains 600 ęsę which give them their core essence. Odu's within Ifa are a categories of poetry with distinct themes. For example, a theme of Eji Ogbe is good luck while Irete Meji signifies death, and Otua Meji tells of Islam and how it made inroads to Yorubaland.
 
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There are 256 categories of poems in Ifa. Each of these categories are known as Odu; and each Odu have distinct signatures and themes. In addition to telling the story of the Yoruba peoples, they also embody religious and mythological narratives. Each Odu has 600 ęsę (verse) which give a specific Odu an essence.

The 256 totality are derived from 16 primary Odu which are as follows: (1) Ejiogbe, (2) Oyekumeji, (3) Iworimeji, (4) Odimeji, (5) Irosunmeji, (6) Obarameji, (7) Obarameji, (8) Okanranmeji, (9) Ogundameji, (10) Osameji, (11) Ikameji, (12) Oturuponmeji, (13) Otuameji, (14) Iretemeji, (15) Osemeji, (16) Ofunmeji.

Each Odu also corresponds to a specific signature, as seen in the image of the primary 16 below:

1000002683.jpg

All Odu have specific themes associated with each. For example, Eji Ogbe signifies good luck while Irete Meji signifies death, and Otua Meji tells of Islam and it's inroads into Yorubaland. Although, most of the verses contained within the Odu relate to theme of the Odu concerned, there are some verses which may be unrelated to the general theme.

Each Odu roughly corresponds to one of the Orisa (divinities within the Ifa religion). The Odu which relates to a particular one is said to be owned by, or "belong" to that Orisa. This means the myths of that Orisa are contained within that Odu, and many of the ęsę of the Odu relate stories about that Orisa. For example, Ogunda Meji, as the name suggests, relates to the Orisa Ogun (divinity of war amongst other things). When that specific Odu is brought up, it relates to Ogun.

As has been mentioned, each Odu contains many ęsę, which are a type of poem. Some of these poems are long while others are very short. Though whether long or short, there is a definite order of sequence in the arrangement of the elements of each Ifá poem. This sequential arrangement of elements is what I have termed structure.

Each Ifá poem has a maximum of eight and a minimum of four structural parts. The poems which have four parts are usually very short and stereotyped. They are referred to by Ifá priests as "Ifá kéékèèkéé" (small poems of Ifá). They are, in actual fact, shortened forms of longer poems. Most of the poems found in the Ifá literary corpus, however, usually have more than four structural parts. Among this large group of poems which have more than four parts, there are some in which parts iv-vi have been unusually elongated. This type of ese Ifá is known as Ifá Nláálá (long poems of Ifá).

Every ese Ifá begins with a presentation of the names of the Ifá priest (s) who are believed to have performed in the past the divination which forms the subject matter of the poem. These names are usually nick-names or praise-names of the Ifá priests concerned. This first part (i) of the structure of ese Ifá is highly regarded by the Ifá priests since without the invocation of the names of these past authorities, the Ifá poem is devoid of its mythical importance. This section of ese Ifá therefore gives authenticity to each poem as a "true" account of what actually happened in the past.

The names mentioned in part (i) may not, however, be the names of human beings. They may be the names of animals or plants which are, for the purposes of the story in the Ifá poem concerned, personified so as to be able to narrate a coherent story which will fit into the overall structure of ese Ifá. Thus, when Ifá priests refer to the names found in this part of ese Ifá as names of past Ifá priests, we may regard their claim as true in the spiritual or symbolic sense only.

Part (ii) of the structure of ese Ifá mentions the name(s) of the client(s) for whom the diviners in (i) above performed divination. The client mentioned here may be a human being or a whole community. Like in part (i) above, these names of clients may be names of actual (historical) or mythical persons or places. But since the Ifá priest believes these personal or place names to be true names, this portion of the Ifá poem strengthens the authenticity claimed by the Ifá priest for his repertoire.

The third part (iii) of ese Ifá mentions the reason or occasion for the past divination in question. This portion of the repertoire of Ifá priests deals with the motive of the past divination and enhances the mythical value of the Ifá poem.

The fourth part (iv) of ese Ifá tells us what the client in the past divination was asked to do. This section usually includes such details as the sacrifices, taboos and any other advice which the client was asked to observe. Furthermore, the things listed for the client to use for the prescribed sacrifice may also be named. This section of the Ifá poem refreshes the memory of the Ifá priest as to what sacrifices he should ask his client to perform and what advice he should give.

Furthermore, this part justifies the Ifá priest when he later lists for his client the sacrifices that he has to perform, and the realisation by the client that these items have been offered for sacrifice by other people makes him believe in the efficacy of the sacrifice.

Part (v) deals with whether or not the client complied with the advice given to him in (iv) above. For example, did the client offer the prescribed sacrifice? To what extent did he observe the advice given to him by the Ifá priest. It is necessary to spell out these details here in order to justify the result of the divination in (vi) below.

Part (vi) tells us the result of the past divination. For example, if the client performed sacrifice and did all the other things he was told to do, what then happened to him? Did he achieve his purpose as stated in (iii) above? What usually happens is that if the Ifá priest performed sacrifice and observed all the other do's and don'ts, this section of the poem will state that he achieved his original goal; but if he failed to perform sacrifice, he will fail to achieve what he originally set out to achieve. This portion of ese Ifá therefore provides a concrete example to people as to what the consequences of neglect of sacrifice usually are and what rewards await the faithful ones who performed sacrifice.

Part (vii) gives us the reaction of the Ifá priest to the outcome of the divination. Thus, if the result of the divination in (vi) is favour- able to the client, he will react with joy but if the result is unfavour- able, his reaction would be one of regret. This part of the structure of the Ifá poem is important because it provides us with the client's evaluation of his own action and strengthens our belief in the need of the individual to perform sacrifice.

Part (viii) is usually presented in the form of a conclusion to the whole story. This section of the Ifá poem may stress the theme of the story or mention the importance of sacrifice. In a way, this portion is the Ifá priest's evaluation of what he considers important or memor- able in the whole story. Hence, part (viii) is usually presented in didactic terms.

What has emerged so far is that ese Ifá is a type of "historical" poetry.34 Every poem of Ifá is an attempt to narrate, through the peculiar structure of Ifá divination poetry, things which the Ifá priest has been taught to believe actually happened in the past. By narrating these stories of the past, the Ifá priest believes that his client can then pick situations similar to his own and advise himself of the best thing to do in the light of the precedent which has been cited for him. Ifá divination poetry is regarded as a record of the activities of the divin- ities and the ancestors on earth. In a culture whose political and social structure is based on divine kingship and the wisdom of the elders, such activities of the past are highly valued and regarded by all.

All the parts of ese Ifá described above could be chanted or recited by the Ifá priest during the process of divination. Part eight (viii) is almost invariably presented in chanted form. This part could be chanted even by the client and the trainees of the master-priest present during the process of divination.

While chanting or reciting any Ifá poem, the Ifá priest tries to keep as close as possible to the original form of parts (i-iii) and part (viii) as given to him by his own teacher. He is not allowed to add his own words or to subtract anything from this part of his repertoire. He is, however, at liberty to use his own language while rendering parts (iv-vii) as long as he keeps in mind the main plot and the characters of the whole story and keeps to its original theme. Thus, while the Ifá priest is not allowed to innovate in certain parts of his repertoire, he is allowed some measure of creativity in others.

The short poems of Ifá (Ifá kéékèèkéé) mentioned above usually have four parts, namely (i), (ii), (iii) and (viii). All other ese Ifá make use of all or some of the eight structural parts listed above. But nearly all Ifá poems will contain parts (i-iii) as well as part (viii). Thus, in the frame-work of Ifá divination poetry, we can say that parts (i-iii) and (viii) are obligatory while parts (iv-vii) are optional.

The following is presented inorder to show an example of the eight part structure analyzed above.

Part (i) Gbóǹkólóyo;

Part (ii) A díá fún ọdę

Part (iii) Tí regbó 'je,

Èlùjù 'je.

Part (iv) Won ní kó rúbo àlo,

Kó rúbo àbò.

Wón ní pípò ni işégun fún un.

Part (v) Ó sì rúbo

Part (vi) Ìgbà tó rúbo tan.

Ó şégun sí òtún,

Ó şégun sí òsì.

Ó kó ęrú, Ó si kó ęrù.

Part (vii) Ó ní béè gégé

Ni àwọn awo oún ńşçnu rereé pe 'Fá.

Part (viii) E se odę ní hiin,

Hàà hiin.

Qdę hiin,

Hàà hiin


Part (i) The Ifá priest named Gbónkólóyo

Part (ii) Performed Ifá divination for the Hunter

Part (iii) Who was going to hunt inside seven forests

And seven wildernesses.

Part (iv) He was told to perform sacrifice for safety to

And from the expedition.

Part (v) And he performed sacrifice

Part (vi) After he had performed sacrifice,

He conquered his enemies on the right,

He defeated his enemies on the left.

He captured slaves,

And gathered a lot of booty.

Part (vii) He said that was exactly

How his Ifá priest employed his good voice in praise

of Ifá.

Part (viii) Welcome the hunter with acclamation.

Welcome the hunter with praise.

Hunter, we salute you.

We welcome you with approval.

The ęsę are very rich in language and stylistic features. A detailed account of all the features of style and language in this rich poetic genre cannot be attempted here for reasons of space limitation. It will suffice, here, to mention some of the most important poetic devices. A detailed account of the stylistic features and their number of occurrence within this form of poetry has been attempted in Wande Abimbola's "Ifá: An exposition of Ifá literary corpus."

The Eight parts of an ęsę are rendered in poetic form, however, when parts (IV-VI) are rendered in recitative form (Yoruba originally being an oral language), the poetic language which emerges is a freer form of poetry which resembles prose. Ifa makes use of personification, rhythm, tonal word play, wordplay by other means, onomatopoeia, linear repetition, thematic repetition, lexical and syllabic repetition, structural repetition, alliteration and assonance, lexical-matching, parallelism and metaphor.

Abimbola, W. (1977). Ifá divination poetry. Cambridge University Press.

Abimbola, W. (1977). Ifá: An exposition of Ifá literary corpus. University of Ife Press.
 
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Aaalso, one thing I have been wondering about. We are often told that stories have a certain structure: beginning, building tension, resolving the conflict. Three «climaxes,» the heroes journey etc. etc. However, I wonder, is this just the western tradition or is it universal? Does it hold true to african stories?

I remember you asked for story structure? Well I've found something (in the post above this one).
 
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:( Bad,bad djudju ...

too hard, couldn't do, sorry.

I mean, also had other interests, but, it being easier might have helped with the interest bit.
 

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