The details of encounters between religious groups in multireligious African contexts and the intricacies of living, belonging, and identifying within such milieux have hardly been explored. In Yorùbáland, the cultural region of the Yorùbá people—and the geographic context of this thesis—the fine grain and vast array of possibilities of interreligious encounter between Christians, Muslims, and adherents of African Indigenous Religions remains largely undocumented in terms of detailed, quality accounts. While most regions of West Africa and even Nigeria exist with a dominant religious tradition, Yorùbáland is a microcosm of the wider region’s multireligious composition, with Christianity, Islam, and African Indigenous Religions all playing prominent roles. The Yorùbá ‘spirit of accommodation’, a phrase often used to describe how Yorùbá culture not only tolerates, but also embeds and synthesises the religious ‘Other’, has created a unique multireligious environ and is undoubtedly one of the optimum contexts in the world to study interreligious encounter within a single ethnolinguistic area. Comprised of fieldwork and research conducted from 2009-2014, this thesis works toward addressing the aforementioned gap in scholarship with two ethnographic case studies of people who simultaneously belong and/or identify with multiple religious groups and traditions in the predominantly Yorùbá city of Ogbómòsó, Nigeria. The first case study examines a new religious group known as the Ogbómòsó Society of Chrislam (OSC). Interreligious encounter in this instance features a group that intentionally combines elements from Christian, Muslim, and indigenous Yorùbá religious traditions, creating dynamic examples of multiple religious belongings and identities. The second case study examines multiple religious belonging and identity at the annual Ogbómòsó Egúngún festival. Interreligious encounter in this instance features 12 individual narrative accounts focusing on each individual’s religious belonging and identity throughout key points in their life. Beyond its important ethnographical contributions, the thesis offers methodological and theoretical insight into approaching religious belonging and identity as complex and fluid processes, rather than static and singular events. It argues that approaches that only allow for the possibility of classifying people in single, discrete categories masks the varied, dynamic, and complex belongings and identities of people in the lived world, many of who live across and within multiple religious groups and traditions.

The artist presents his Master of Fine Arts exhibition, entitled Ìlànà Òrí-òkè Àtiyanrìn: T(h)reading Sands and Mountains. The exhibit was mounted in Tipton Gallery in downtown Johnson City, TN, from February 1 to February 9, 2024. The exhibition consisted of 13 artworks, including mixed media paintings, fibers, sculptures, and installations. In this thesis, Akintobi discusses his life experiences growing up in Nigeria and traveling to the United States for his MFA, and how these experiences have affected his art over the past three years. Through the exhibition, the artist delves into the intersection and variances of cultural perspectives, exploring identity and creativity within the dynamic context of these two cultures. This body of work is a visual translation of his observations and comparisons of his everyday life in southwest Nigeria and his everyday life in Johnson City, TN, USA.

Speech technologies such as text-to-speech synthesis (TTS) and automatic speech recognition (ASR) have recently generated much interest in the developed world as a user-interface medium to smartphones [1, 2]. However, it is also recognised that these technologies may potentially have a positive impact on the lives of those in the developing world, especially in Africa, by presenting an important medium for access to information where illiteracy and a lack of infrastructure play a limiting role [3, 4, 5, 6]. While these technologies continually experience important advances that keep extending their applicability to new and under-resourced languages, one particular area in need of further development is speech synthesis of African tone languages [7, 8]. The main objective of this work is acoustic modelling and synthesis of tone for an African tone,language: Yorùbá. We present an empirical investigation to establish the acoustic properties of tone in Yorùbá, and to evaluate resulting models integrated into a Hidden Markov model-based (HMMbased) TTS system. We show that in Yorùbá, which is considered a register tone language, the realisation of tone is not solely determined by pitch levels, but also inter-syllable and intra-syllable pitch dynamics. Furthermore, our experimental results indicate that utterance-wide pitch patterns are not only a result of cumulative local pitch changes (terracing), but do contain a significant gradual declination component. Lastly, models based on inter- and intra-syllable pitch dynamics using underlying linear pitch targets are shown to be relatively efficient and perceptually preferable to the current standard approach in statistical parametric speech synthesis employing HMM pitch models based on context-dependent phones. These findings support the applicability of the proposed models in under-resourced conditions. / PhD (Information Technology), North-West University, Vaal Triangle Campus, 2014

Speech technologies such as text-to-speech synthesis (TTS) and automatic speech recognition (ASR) have recently generated much interest in the developed world as a user-interface medium to smartphones [1, 2]. However, it is also recognised that these technologies may potentially have a positive impact on the lives of those in the developing world, especially in Africa, by presenting an important medium for access to information where illiteracy and a lack of infrastructure play a limiting role [3, 4, 5, 6]. While these technologies continually experience important advances that keep extending their applicability to new and under-resourced languages, one particular area in need of further development is speech synthesis of African tone languages [7, 8]. The main objective of this work is acoustic modelling and synthesis of tone for an African tone,language: Yorùbá. We present an empirical investigation to establish the acoustic properties of tone in Yorùbá, and to evaluate resulting models integrated into a Hidden Markov model-based (HMMbased) TTS system. We show that in Yorùbá, which is considered a register tone language, the realisation of tone is not solely determined by pitch levels, but also inter-syllable and intra-syllable pitch dynamics. Furthermore, our experimental results indicate that utterance-wide pitch patterns are not only a result of cumulative local pitch changes (terracing), but do contain a significant gradual declination component. Lastly, models based on inter- and intra-syllable pitch dynamics using underlying linear pitch targets are shown to be relatively efficient and perceptually preferable to the current standard approach in statistical parametric speech synthesis employing HMM pitch models based on context-dependent phones. These findings support the applicability of the proposed models in under-resourced conditions. / PhD (Information Technology), North-West University, Vaal Triangle Campus, 2014

Made available in DSpace on 2016-07-27T13:48:42Z (GMT). No. of bitstreams: 1 SEBASTIAO FERNANDO DA SILVA.pdf: 1277846 bytes, checksum: 42c08c3da2c4490dbfd9d195149122eb (MD5) Previous issue date: 2015-09-21 / This theoretical and bibliographical research aims to describe the Cult of Òrúnmìlà- Ifa, which originated from West Africa, especially from Nigeria, Benin and surrounding countries, also being practiced in Brazil. Therefore, we sought to understand the yoruba culture, a little of its history and characteristics. For understanding the Òrúnmìlà-Ifa philosophy is critical to apply the interpretive analysis of the Yoruba´s worldview. The worldview of this people is based on a hierarchically structured system from a Supreme Being, called Olodumare, arch-deities, ancestors, natural phenomena and Orisa. It´s holy city, Ilé-Ife, is considered by the Yoruba as the origin of mankind. The Yorubas perform various ceremonies and rites of passage to iniciate people in Òrúnmìlà-Ifa, one arch-divinity, a spirit, an adviser of Olodumare, with transit between heaven and earth, responsible for organizing and ordering the world´s pathaways of the good and peace, creating then a cult with his name. It is noteworthy the ancestry cult, being the ancestor a person or entity revered for his-hers virtues and ethical and moral teachings. The Yoruba respect and obey the elders, whose values are orally passed from generation to generation, forming an model of principles meant to shape the formation of good character (Ìwàpèlè), peace, peaceful coexistence and respect for others, animals and nature. With the Africans diaspora, the Cult of Òrúnmìlà-Ifa (and others) had been spread to several countries, including Brazil. The Cult of Òrúnmìlà-Ifa has its own philosophy that leads people to form self-awareness and driving the social and religious life of the community. / Esta pesquisa de cunho teórico-bibliográfico tem por objetivo descrever o Culto de Òrúnmìlà-Ifá, que é originário da África Ocidental, especialmente da Nigéria, Benin e países circunvizinhos, sendo também praticado no Brasil. Para tanto, buscou-se entender a cultura yorubana, um pouco da sua história e características. Para a compreensão da Filosofia de Òrúnmìlà-Ifá é fundamental a análise interpretativa da cosmovisão dos Yorùba. A cosmogonia desse povo constitui-se de um sistema estruturado hierarquicamente a partir de um Ser Supremo, denominado Òlódùmarè, arqui-divindades, ancestrais, fenômenos da natureza e orisá. A sua cidade sagrada, Ilé-Ifé, é considerada pelos Yorùba como a origem da humanidade. Eles realizam cerimônias diversas e ritos de passagem para formarem iniciados em Òrúnmìlà-Ifá, uma arqui-divindade, um espírito, um conselheiro de Òlódùmarè, com trânsito entre o céu e a terra, encarregado de organizar e ordenar o mundo nos caminhos do bem e da paz, criando-se então um culto com o seu nome. Destaca-se nessa cultura a ancestralidade, sendo o ancestral uma pessoa ou entidade reverenciada por suas virtudes e ensinamentos éticos e morais. Os Yorùba respeitam e obedecem aos anciães, cujos valores são passados, oralmente, de geração em geração, formando um ideário de princípios voltados para a formação do bom caráter (Ìwàpèlè), da paz, da convivência harmoniosa e de respeito ao outro, aos animais e à natureza. Com a diáspora dos africanos, o Culto de Òrúnmìlà-Ifá (e outros) foi difundido por diversos países, inclusive o Brasil. O Culto de Òrúnmìlà-Ifá apresenta uma filosofia própria, que leva as pessoas a formarem a consciência de si e que dirige a vida social e religiosa da comunidade.

Tendo como foco a religião, a cultura negra é estudada em dois momentos: em África e no Brasil. Em África, considerando o período entre os séculos XII e XVI, realizamos uma síntese abrangendo, aspectos geográficos, históricos, políticos, econômicos e de organização social, relativa à África Bantu e a África Ocidental, caracterizando o cotidiano, a ideologia humanista e aspectos significativos da religião e magia. Numa perspectiva interpretativa e dinâmica, analisamos a vida e a morte como processo cultural, onde os ritos estão presentes no dia-a-dia e marcam, sobretudo, os momentos importantes da vida individual e coletiva, na dimensão material e espiritual. A interpenetração de culturas embasa nosso pressuposto de unidade na diversidade e diversidade na unidade. No Brasil, tratamos da religião trasladada e da religião reelaborada. De maneira resumida caracterizamos o cenário europeu entre os séculos XVI e XIX, para situar o tráfico de escravos e a ideologia do colonizador no mesmo período. xi Apoiados no conceito de reinterpretação, verificamos as religiões dos negros no novo ambiente, buscando o início e o desenvolvimento de uma forma específica: o Candomblé. No Candomblé como sistema religioso, apesar da aparente dicotomia (rito nàgó e rito bantu), procuramos caracterizá-lo como uma manifestação da cultura negra, como bloco, em oposição à branca, evidenciando a contradição vivida pelos adeptos que se inserem na ideologia ocidental e praticam ritos sustentados pela visão de mundo negro-africana tradicional. Numa abordagem de antropologia interpretativa, utilizamos os rudimentos da teoria da relatividade mas, preocupamo-nos também, em inserir o trabalho numa perspectiva de antropologia estética. / Negro culture is studied over two different periods in two distinct locations, firstly in Africa and then in Brazil. In Africa, the main period considered is between the XII and XVI centuries. We synthesized several topics such as geography, history, politics, economy and social organization pertaining to Bantu Africa and West Africa. This context is used to describe daily life, human ideology and significant aspects of magic and religion. Using a dynamic and an interpretative perspective, we analyzed life and death as a cultural process. Also emphasized are the daily rituals and other customs marking important events in individual and communal life, from both a spiritual and a material dimension. Our interpretation of cultures supports our presupposition of unity though diversity and diversity through unity In Brazil, we focused on the transferred religion and its evolution. In a summarized fashion, we characterize the European scenario in between the XVI and XIX centuries. This helps us put into context the slave trade and the ideology of the colonizers during this time. xiii Supported by the concept of reinterpretation, we address the religion of these Africans in their new environment, and search for the beginnings and evolution of a specific system of religion called Candomblé. In spite of a dichotomy between the Nàgó and Bantu rites, we characterize Candomblé as a unified manifestation of Negro culture, and as a form of opposition to the White religion. We also reveal the contradiction experienced by the Candomblé adepts, who were inserted into Western ideology yet continue to practice rites sustained by a traditional African vision of the world. In our interpretative anthropology approach, we utilized the rudiments of relativity theory, and also strived to insert our work within the perspective of esthetic anthropology.

Tendo como foco a religião, a cultura negra é estudada em dois momentos: em África e no Brasil. Em África, considerando o período entre os séculos XII e XVI, realizamos uma síntese abrangendo, aspectos geográficos, históricos, políticos, econômicos e de organização social, relativa à África Bantu e a África Ocidental, caracterizando o cotidiano, a ideologia humanista e aspectos significativos da religião e magia. Numa perspectiva interpretativa e dinâmica, analisamos a vida e a morte como processo cultural, onde os ritos estão presentes no dia-a-dia e marcam, sobretudo, os momentos importantes da vida individual e coletiva, na dimensão material e espiritual. A interpenetração de culturas embasa nosso pressuposto de unidade na diversidade e diversidade na unidade. No Brasil, tratamos da religião trasladada e da religião reelaborada. De maneira resumida caracterizamos o cenário europeu entre os séculos XVI e XIX, para situar o tráfico de escravos e a ideologia do colonizador no mesmo período. xi Apoiados no conceito de reinterpretação, verificamos as religiões dos negros no novo ambiente, buscando o início e o desenvolvimento de uma forma específica: o Candomblé. No Candomblé como sistema religioso, apesar da aparente dicotomia (rito nàgó e rito bantu), procuramos caracterizá-lo como uma manifestação da cultura negra, como bloco, em oposição à branca, evidenciando a contradição vivida pelos adeptos que se inserem na ideologia ocidental e praticam ritos sustentados pela visão de mundo negro-africana tradicional. Numa abordagem de antropologia interpretativa, utilizamos os rudimentos da teoria da relatividade mas, preocupamo-nos também, em inserir o trabalho numa perspectiva de antropologia estética. / Negro culture is studied over two different periods in two distinct locations, firstly in Africa and then in Brazil. In Africa, the main period considered is between the XII and XVI centuries. We synthesized several topics such as geography, history, politics, economy and social organization pertaining to Bantu Africa and West Africa. This context is used to describe daily life, human ideology and significant aspects of magic and religion. Using a dynamic and an interpretative perspective, we analyzed life and death as a cultural process. Also emphasized are the daily rituals and other customs marking important events in individual and communal life, from both a spiritual and a material dimension. Our interpretation of cultures supports our presupposition of unity though diversity and diversity through unity In Brazil, we focused on the transferred religion and its evolution. In a summarized fashion, we characterize the European scenario in between the XVI and XIX centuries. This helps us put into context the slave trade and the ideology of the colonizers during this time. xiii Supported by the concept of reinterpretation, we address the religion of these Africans in their new environment, and search for the beginnings and evolution of a specific system of religion called Candomblé. In spite of a dichotomy between the Nàgó and Bantu rites, we characterize Candomblé as a unified manifestation of Negro culture, and as a form of opposition to the White religion. We also reveal the contradiction experienced by the Candomblé adepts, who were inserted into Western ideology yet continue to practice rites sustained by a traditional African vision of the world. In our interpretative anthropology approach, we utilized the rudiments of relativity theory, and also strived to insert our work within the perspective of esthetic anthropology.

The study examines two selected Yorùbá movies, focuses on the oral tradition, feelings, and messages in them. Its purpose is to show that the classification or categorisation by previous scholars is not limited to Yorùbá movies; it is adaptable to other movies. Consequently, the study sets out to find an identity for Yorùbá movies and is able to accomplish its aim. It draws on copious examples of oral tradition genres in the selected movies, extract their examples from the movies, and use the extracts to make an argument that the unique way to identify Yorùbá movies is the Yorùbá oral tradition which frequents in the movies. In its attempt to find its focus, it highlights scholars’ ideas of oral tradition worldwide and narrows the concept to the Yorùbá paradigm. The dissertation contains information on research approach, theories, analysis, and findings. Also, it presents the weaknesses of the study and offers useful recommendations. Finally, the study asserts its claim and proves it with evidence from its data. / African Languages / D. Litt. et Phil. (African Languages)

The study examines two selected Yorùbá movies, focuses on the oral tradition, feelings, and messages in them. Its purpose is to show that the classification or categorisation by previous scholars is not limited to Yorùbá movies; it is adaptable to other movies. Consequently, the study sets out to find an identity for Yorùbá movies and is able to accomplish its aim. It draws on copious examples of oral tradition genres in the selected movies, extract their examples from the movies, and use the extracts to make an argument that the unique way to identify Yorùbá movies is the Yorùbá oral tradition which frequents in the movies. In its attempt to find its focus, it highlights scholars’ ideas of oral tradition worldwide and narrows the concept to the Yorùbá paradigm. The dissertation contains information on research approach, theories, analysis, and findings. Also, it presents the weaknesses of the study and offers useful recommendations. Finally, the study asserts its claim and proves it with evidence from its data. / African Languages / D. Litt. et Phil. (African Languages)