This study explores the dynamics at play in the nineteenth century interaction between European mission Christianity and the peoples and cultures of West Africa with Akan (Gold Coast) and Yoruba (Nigeria) lands serving as the model theatres of the interaction. It appreciates the fact that in a context such as West Africa, where religious consciousness permeates every aspect of life, the coming of the Gospel to its peoples impacted every aspect of the social and religious lives of the people. Chapter one sets the agenda for the study by exploring the dynamics involved in the transmission of the Gospel as it spread from Palestine to the Graeco-Roman world, medieval Europe, Enlightenment Europe and, later, Africa in the nineteenth century. It also defines the limits of the study to the period 1820-1892. Chapter two explores the religious and the cultural environments that gave shape to the modem European missionary movement. It highlights the features of the European Reformation that were factors in defining missionary methods in West Africa. It also emphasizes the subtle infiltration of Enlightenment ideals-the primacy of Reason, the way of Nature, and the idea of Progress-into missionary consciousness about Africa and its peoples. Chapter three delineates the religious and the cultural milieus of West Africans in contrast to that of European missionaries. It underscores the integral nature of religion to the totality of life among West Africans. It also contrasts the socio-political conditions of Akan land and Yoruba land in the nineteenth century while appreciating the rapid changes impinging on their peoples. Chapter four explores how the prevailing realities in Akan and Yoruba lands defined the fortunes and the prospects of the missionary message among the people. In doing this, it draws from four model encounters of mission Christianity with West African peoples and cultures. In Mankessim, the deception associated with a traditional cult was exposed. At Akyem Abuakwa, the contention between missionaries and the royalty for authority over the people led to social disruption. The resistance of the guild of Ifa priests to Christian conversion and the assuring presence of missionaries to the warrior class created ambivalence at Abeokuta. Ibadan offers us an irenic model of interaction between mission Christianity and West African religions as Ifa, the Yoruba cult of divination, sanctioned the presence of missionaries in the city. Chapter five reflects on the issues that are significant in the interaction of the Gospel with West African cultures. It appreciates the congruence between the Gospel and West African religious worldview. It assesses the impact of missionary methods on the traditional values of West Africans, appreciating the strength and the weaknesses of the school system, the value of Bible translation into mother-tongues, and the contextual relevance of the mission station method of evangelization. It also explores the meaning of Christian conversion in West Africa using the models of A.D. Nock, John V. Taylor and Andrew F. Walls. Chapter six concludes with Andrew Walls' three tests of the expansion of Christianity. The conclusion is that in spite of the failures and weaknesses of some of the methods adopted by European missionaries in evangelizing West Africa, their converts understood their message, domesticated it according to their understanding and appropriated its benefits to the life of their societies. / Thesis (M.Th.)-University of Natal, Pietermaritzburg, 2002.

M.Tech. Drama and Film Studies. / The aim of this thesis is to explore the concept of Africanisation in the context of the Yoruba culture of the South West of Nigeria. It seeks to study the nature and form of life among the Yoruba people through the lens of selected plays by playwright and novelist Wole Soyinka, focusing on the motivations for the culture that is observed among the Yoruba speaking people. This study seeks to answer two major questions using the qualitative research method. These questions are: What cultural hallmarks and identities of the Yoruba people are represented in the selected plays of Wole Soyinka, which are Death and the Kings Horseman, The Strong Breed and The Lion and the Jewel and how are these represented? And, what is Africanisation and how has Africa responded to it? In order to achieve the above aims, the thesis is written in two parts. The first part focuses on Africanisation and African Renaissance, while the second part focuses on the analysis of the culture of the Yoruba people as presented by Wole Soyinka in the selected plays. As a philosophy, Africanisation entails, but is not limited to, the art of producing and appraising a knowledge system based on African cultures for the benefit of Africa and the world at large. According to Makhanya, Africanisation is acknowledging and introducing knowledge systems that are rooted in and relevant to Africa next to other knowledge systems in the quest to discover, explain and produce knowledge (cited in Ratshikuni, 2010:1). The selected plays analysed are culturally rich Yoruba plays. Some of the ethos of the Yoruba people, including communal life, music and drumming, naming, sacrifice, and death, among others, as represented by the playwright are expounded upon and documented. vi The methodology employed to obtain data for this study is the qualitative research method. This entails content analysis of the plays with a view to studying the cultural content in the plays. In conclusion, the thesis argues that Yoruba culture has sufficient value that can be of great benefit to the unity and progress of Africa and the world at large. But first, Africa and Africans must embrace their cultural values, expose them to the world and allow some culture of the world to blend with it so as to create a greater, meaningful and global impact.

This study is a critique of Aso Ebi in Owambe social uniform and social performance phenomena of the Yoruba culture of Nigeria in West Africa. The Aso Ebi phenomenon is a social uniform that is inextricable from the Owambe spectacle of the Yoruba culture, which, in itself, is a social performance. Aso Ebi is a fabric that is selected, made into garments and worn by groups of people who are related to one another in various ways such as family, friends or comrades. The uniforms are worn for social gatherings, especially celebrations, which are popularly called Owambe. These celebrations are very elaborate and loud, much like a grand spectacle put on to show wealth, unity and flamboyance. The research is the explanation of how the Aso Ebi and Owambe social uniforms manifest themselves and this manifestation is presented through a body of artworks. The artworks seek to expose the unseen actualities involved in participating in these social performances and issues of social survival within these cultural phenomena. The analysis addresses the impacts and influence of conformity in cooperative behaviour by an individual within his/her social identity and relationships. The main question this study addresses is whether the positive factors of unity, social order and expressive visual flamboyance of the social phenomena outweigh the negative impacts particularly on the individuals who participate in these social performances. This is done by acknowledging the experiences of the participating individuals in the conformity and transmission modes of these phenomena in this culture. The visual productions of the concepts in the research are achieved through performance, collages, photography and a sculptural installation. The significance of these emergent visual productions is that they shift the focus from the impression of the group to the conformity by the individual. This highlights the problems faced by the participating individuals in the pursuit and participation of this cultural phenomenon. / Department of Art History, Visual Arts & Musicology / M.A. (Visual Arts)

This study is a critique of Aso Ebi in Owambe social uniform and social performance phenomena of the Yoruba culture of Nigeria in West Africa. The Aso Ebi phenomenon is a social uniform that is inextricable from the Owambe spectacle of the Yoruba culture, which, in itself, is a social performance. Aso Ebi is a fabric that is selected, made into garments and worn by groups of people who are related to one another in various ways such as family, friends or comrades. The uniforms are worn for social gatherings, especially celebrations, which are popularly called Owambe. These celebrations are very elaborate and loud, much like a grand spectacle put on to show wealth, unity and flamboyance. The research is the explanation of how the Aso Ebi and Owambe social uniforms manifest themselves and this manifestation is presented through a body of artworks. The artworks seek to expose the unseen actualities involved in participating in these social performances and issues of social survival within these cultural phenomena. The analysis addresses the impacts and influence of conformity in cooperative behaviour by an individual within his/her social identity and relationships. The main question this study addresses is whether the positive factors of unity, social order and expressive visual flamboyance of the social phenomena outweigh the negative impacts particularly on the individuals who participate in these social performances. This is done by acknowledging the experiences of the participating individuals in the conformity and transmission modes of these phenomena in this culture. The visual productions of the concepts in the research are achieved through performance, collages, photography and a sculptural installation. The significance of these emergent visual productions is that they shift the focus from the impression of the group to the conformity by the individual. This highlights the problems faced by the participating individuals in the pursuit and participation of this cultural phenomenon. / Department of Art History, Visual Arts and Musicology / M. A. (Visual Arts)

Thesis (MTh (Old and New Testament))--Stellenbosch University, 2008. / This study examines the exodus event and its impact on identity formation in the light of the origin and migration narratives of the Yoruba people. On the one hand, it is observed that migration is not only an ancient but a universal phenomenon. Its rootedness in Africa and its profound influence on identity formation are therefore brought to the fore by comparing the origin and migration narratives of the Yoruba with those of the Tiv and the amaZulu. The findings show that certain elements of the origin and migration narratives such as a common ancestor, a common ancestral home, a common belief in Supreme Deity etc., provide a basis for identity formation and recognition among these Africans, in particular, the Yoruba. On the other hand, the study focuses on the Sea event in Exodus 14-15:18 which is composed of both a narrative and a poetic rendition of the sea-crossing by the children of Israel. In the Sea event, Israel acknowledged in story and song that it was Yahweh who as a warrior, delivered its people from the hand of Pharaoh and took them safely to the other side of the Sea. This research shows that a literary consideration of the text and especially of the interplay between prose and poetry points to Yahweh as the main character in the Sea event. Consequently, Israel’s identity is defined in Yahweh whose own identity as warrior and deliverer brought Israel victory over the Egyptians and paved the way for a new nation in a new land. In this sense, Israel’s identity is assumed to be a theological one. It is argued that the Yoruba origin and migration narratives help to bring to light the memories of exodus and Israel’s recollection of Yahweh as the root of its identity. The narratives help to appreciate more clearly Yahweh’s role in the midst of his people and the his centrality to Israel’s self-understanding even as they show that these can provide valuable resources in today’s world where migration and the struggle for identity are features that are not likely to fade away. Besides, the juxtaposition of cosmogonic myths and migration theories in attesting to the elements of Yoruba identity formation, have a parallel in the blending of both cosmic and migration elements in Exodus 14-15:18. This blending also foregrounds the role of Yahweh in the Sea event. In addition, the study suggests that the interaction between prose and poetry in the Sea event is an instance of a separate genre which further research may confirm in Yoruba, especially in folk-tales and in oríkì-oríle (praise names/epithet).

The thesis explored the story of the healing of the ten lepers by Jesus in Luke 17:11-19 for its potential to facilitate a conversation between the Jesus context and the Yoruba context, to bring about a new praxis in the attitude of Yoruba Christian to people living with HIV and AIDS. In view of the fact that the context is a major determinant in the interpretations that ecumenical theologians make with the Bible, it calls on the interpreter to re-read the text in the culture of the people. And in a bid for African biblical scholarship to locate itself within the social, political and ecclesiastical context of Africa in the age of globalization and the scourge of HIV and AIDS crisis, a contextual reading of Jesus’ attitude and compassionate response to the wish of the ten lepers as presented in Luke for healing and restoration is not only desirable in this research but an opportunity to reflect on the contribution of contextual exposition of the miracle story to the contemporary attitude of Christians in an HIV and AIDS era. HIV and AIDS is a disease which not only plunders human bodies but also invades the attitude and behaviour of societies generating a kind of social pathology. Hence the definition of social phenomena is culturally determined and therefore the explanation and the attitudes of health and illness is a function of culture. As a result this has great implications for the attitude and behaviour of people towards sick people especially people living with HIV and AIDS in this era. Drawing insights from the model of the body as social map by Mary Douglas in which the concern and fight around social boundaries are linked with purity rules and taboo; and the labeling/deviancy theory of Becker, this research reads the Gospel of Luke with a social-scientific lens selected texts in Luke’s Gospel depicting the attitude of Jesus to outcasts (lepers). It also raises the question, whether being a Christian, having the Bible as a resource in the Yoruba context does or can make a difference to the way Yoruba people respond to sick people in an HIV and AIDS era. The empirical study was carried out in the Yoruba community of Ijebu Remo, Ogun State, Nigeria employed research methods which include the Tripolar exegetical method, an ethnographic study through focus group discussions, non-participatory observation and the contextual Bible study method. / Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2011.

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)

Text in English / Through an in-depth analysis of selected texts, this study engages with the ways in which Ogun is reimagined by recent selected Nigerian playwrights. Early writers from this country, influenced by their modernist education, misrepresented Ogun by presenting only his so-called negative attributes. Contemporary writers are reconceptualising him; it is the task of this thesis to demonstrate how they are doing so from a decolonial perspective. These alleged attributes represent Ogun as a wicked, bloodthirsty, arrogant and hot tempered god who only kills and makes no positive contribution to the Yoruba community. The thesis argues that the notion of an African god should be viewed from an Afrocentric perspective, not a Eurocentric one, which might lead to violence or misrepresentation of him. The dialogue in the plays conveys how the playwrights have constructed their main characters as Ogun representatives in their society. For example, Mojagbe and Morontonu present Balogun, the chief warlord of their different community; both characters exhibit Ogun features of defending their community. The chosen plays for this study are selected based on different notions of Ogun, the Yoruba god of iron and war, presented by the playwrights. A closer look at the primary materials this thesis explores suggests Ogun’s strong connection with rituals and cultural festivals. These plays exemplify African ritual theatre. Being a member of the Yoruba ethnic group, I have considerable knowledge of how festivals are performed. The Ogun festival is an annual celebration among the Yoruba, where African idioms of puppetry, masquerading, music, dance, mime, invocation, evocation and several elements of drama are incorporated into the performances. The selected plays critiqued in this thesis are Mojagbe (Ahmed Yerima, 2008), Battles of Pleasure (Peter Omoko, 2009), Hard Choice (Sunnie Ododo, 2011), and Morontonu (Alex Roy-Omoni, 2012). No in-depth exploration has previously been undertaken into the kinds of textual and ideological identities that Ogun adopts, especially in the selected plays. Therefore, using a decolonial epistemic perspective, this study offers a critical examination of how the selected Nigerian playwrights between the years 2008 and 2012 have constructed Ogun, the Yoruba god of iron. Such a perspective assists in delinking interpretations from the modernised notions mentioned above, in which Ogun is sometimes a paradoxical god. Coloniality is responsible for such misinterpretation; the employed theoretical framework is used to interrogate these notions. The research project begins with a general introduction locating Ogun in Yoruba mythology, which forms the background to how the god is being constructed in Yorubaland. Also included iii in this first chapter is a discussion on a decolonial perspective, the principles of coloniality, the aims and objective of the study, and the relevant literature review. Thereafter, chapter two focuses on Battles of Pleasure and argues that the play re-imagines Ogun as a god of peace and harvest as opposed to a god of war and destruction. Chapter three discusses how Ododo’s Hard Choice reconceptualises Ogun as a god of justice, in contrast to him being interpreted as a god who engages in reckless devastation of life. Chapter four explores Ogun’s representation in Yerima’s Mojagbe as a reformer who gives human beings ample time to change from their wayward course to a course that he approves. In chapter five, Ogun’s reconception as a remover of obstacles in Roy-Omoni’s Morontonu is examined. The study concludes with a discussion on how Africans should delink themselves from a modernist Eurocentric perspective and think from an Afrocentric locus of enunciation. / English Studies / D. Litt. et Phil.(English)

Esta dissertação se propõe analisar a normatização da estrutura de poder das casas-matrizes iorubás, buscando elementos no complexo processo histórico do grupo iorubá no cenário afro-brasileiro e nas práticas do sistema político-social no continente africano. Este estudo objetivou apontar possíveis contornos entre o arcabouço que delineia a sociedade africana em seu sistema de governo e a construção dos ritos iniciáticos que possibilitaram a ordenação das casas de culto de tradição iorubá no Brasil. Para tanto, a observação das práticas iniciáticas nas casas-matrizes de tradição iorubá do Recife e de Salvador formatou o processo litúrgico que dá legitimidade às práticas que fundamentalizam a instância do poder dos sacerdotes afro-brasileiros, visto que inexiste esta função, com este contingenciamento de poder no conjunto sociorreligioso iorubá africano, fora do âmbito real. Neste contexto, a dinâmica da pesquisa identificou, também, possíveis laços de parentesco sagrado entre as duas casas de culto pesquisadas: egbá e ketu / The aim of this dissertation is to analyze the normalization of the power structure of the Yoruba parent homes, seeking elements in the complex historical process of the Yoruba group both in the African-Brazilian scenery and in the practices of the socio and political systems of Africa. The main focus of this study was to identify possible contours of the framework which delineates the African society in its governance and the construction of initiation rituals which allowed the ordination of houses of worship of traditional Yoruba in Brazil. Therefore, the observation of initiation practices in the parent homes of Yoruba tradition of Recife and Salvador formatted the liturgical process that gives legitimacy to practices which support the instance of the power of the African-Brazilian Yoruba priests, since this function does not exist with this curtailment of power in all socio religious African Yoruba setting outside the real. In this context, the dynamics of the research also identified possible sacred bonds of kinship between the two houses of worship investigated: Egba and Ketu