Abstract
This central chapter analyses Ilorin poetry within the constraint of bourgeois aesthetics and defines, with practical and material examples, the situation of traditional and modern instrumentation, language, and thematic focus of Dadakuada oral poetry.
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Notes
- 1.
E. Obiechina, An African Popular Literature: A Study of Onitsha Market Pamphlets (Cambridge: Cambridge University Press, 1973) p. 1.
- 2.
Ibid.
- 3.
See A. Na’Allah, “Dadakuada: Trends in the Development of Ilorin Traditional Oral Poetry” B.A. (Ed.) Thesis, University of Ilorin, 1988.
- 4.
See A. Olaoye , “The Ilorin Emirate and the British Ascendency 1897–1918: An overview of the early phase of Ilorin Provincial Administration,” M.A. Thesis, University of Ilorin, 1984, pp. 5–10.
- 5.
The Emir of Ilorin, Alhaji Sulu Gambari, formally turbaned Jaigbade Alao, as Oba-Orin of Ilorin in July 1991.
- 6.
Olaoye , “The Ilorin…” p. 6.
- 7.
Ibid.
- 8.
Personal interview with Omoekee Amao, August 8, 1987. See also Na’Allah, “Dadakuada, The Trends…” pp. 52–80.
- 9.
Personal interview of some Dadakuada fans across sections of Ilorin, August 1987 and August 1991.
- 10.
Jaigbade Alao, “Kole ba wa Logigi” Chief Records, LPCRL 001 A, 1987.
- 11.
K.M. Dolgov , “Culture and Social Progress” in Marxist-Leninist Aesthetics and the Arts (Moscow: Progress Publishers, 1980) p. 9.
- 12.
Ibid.
- 13.
O. Awobuluyi , “LN 313 File” University of Ilorin Library, (n.d.).
- 14.
See Babs Fafunwa “Is a Lingua Franca possible in Nigeria?” Sunday Punch March 18, 1990, p. 11.
- 15.
Ngugi Wa Thiongo’o, Writers in Politics (London: Heinemann Books Ltd., 1981) pp. 53–65.
- 16.
Dolgov, p. 9.
- 17.
Paulo Fraire, Pedagogue of the Oppressed (London: Penguin Books Ltd., 1972) p. 36.
- 18.
Our recent examination and viewing of Kwagh-hir performance on NTA Network Programme revealed this.
- 19.
Alabi Agbe, “Field Performance,” Idiape, Ilorin July 20, 1991.
- 20.
Alabi Agbe’s Boto; and same performance as 18 above.
- 21.
Odolaye Aremu, “Field Performance,” Abayawo, Ilorin, August 24, 1991.
- 22.
Jaigbade Alao, “Field Performance,” Ile Babaoyo, Ilorin, August 9, 1987.
- 23.
OdolayeAremu, “Saaro Omo Aminu,” Olatunbosun Records, 1974.
- 24.
Ibid., “Shehu Shagari Geri Ijoba” Ariyo Sound ASSLP 058A, 1979.
- 25.
Kwesi Yankah, “The Making and Breaking of Kwama Nkrumah : The Role of Oral Poetry” in African Literature in its Social and Political Dimensions, Ed. Eileen Julien et al. (African Literature Association and three continents Press, Inc., 1986).
- 26.
Omoekee Amao, “Oloye Baba Bukola”.
- 27.
Aremu, “Laaro Balogun,” Olatunbosun Records, 1975.
- 28.
Dolgov, p. 14.
- 29.
Chidi Amuta, The Theory of African Literature (London: ZED Books Ltd., 1989) p. 177.
- 30.
A. Na’Allah, “Dadakuada: Repetitions, Focusing and Hyperbolic Statements in Traditional Oral Poetry” (an unpublished manuscript).
- 31.
Amao, “Oloye Baba Bukola”.
- 32.
Personal interview with Omoekee Amao, 8 August 1987.
- 33.
K. Marx and F. Engels, On Literature and Art (Moscow: Progress Publishers, 1976).
- 34.
Aremu, “Laaro Balogun.”
- 35.
Ibid., ASSLIP 058B, 1979.
- 36.
Amao, “Oloye Baba Bukola”.
- 37.
The Herald, September 15, 1983.
- 38.
Aremu, “Shehu Shagari Geri Ijoba.”
- 39.
Ibid.
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Na’Allah, AR. (2018). Ilorin Traditional Poetry in the Context of Bourgeois Aesthetics. In: Globalization, Oral Performance, and African Traditional Poetry. Palgrave Pivot, Cham. https://doi.org/10.1007/978-3-319-75079-8_3
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