CHAPTER ONE
1.0 INTRODUCTION
One of the most striking features of colonial administrations in Africa is their failure to understand the culture of the people they were privileged to govern. According to Nwosu (1980:4), “the utter failure of most of the bureaucrats concerned to grasp the realities of life of the various people they were privileged to govern”. They had confused notions about what constituted African aesthetics and failed to realize that the literature of Africa does not begin with the written. As a matter of fact, oral tradition has been in existence in African society since the beginning of the continent. However, despite all the processes that colonization took to erase African oral tradition, the form and the aesthetics is still cherished among the people. Lindfors (2002:7-9) confirms the prevalence of oral tradition in the works of African literary writers such as Chinua Achebe, Wole Soyinka and D. O. Fagunwa which they drew from the rich experience they acquired in their various cultures. Oral tradition emanates from the people and is communicated among the people in oral form. Oral tradition in Africa is best described as the literature of the various traditional African societies. Oral tradition has also added sample of documentary from African historians particularly for scholars from the pre-colonial era. Jackson (1977:5) opine that Africans have relied on these traditions to give shape to the past
This research focuses on poetry, particularly praise poetry. The praise poetry among the Ado-Ekiti people has not gained much attention from scholars unlike the other forms of Yoruba oral literature such as proverbs and divinatory chants. The Ekiti praise poetry which is evaluated and explored in this work using functionalism provides insight in to the status and the nature of African oral art as a literary form with structures and functions that serve aesthetic purposes. The study entails the collection of data, analysis, and documentation of praise poetry among the Ado-
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Ekiti people, to reveal the richness of the Ekiti language, culture and as markers of Ekiti identity. It is in the light of this thatAmos (1972) sees praise poetry as a form of oral composition that deals with invocation, adoration, or condemnation of the objects of praise. It is fundamental to note that song is a form under folklore. Other forms include traditions, proverbs, beliefs and tales. It is in this sense that this research dwells on the song particularly the praise song among the Ado-Ekiti people.
According to Ogunjimi (2005) praise poetry is common in African communities especially in Yoruba land. When a child prostrates, kneels, or bends to greet his parents in the morning, he or she is repaid with praises. The elder in the community who wants to appreciate the kindness or assistance rendered by a child, chants some praises. The traditional poet who wants patronage and material reward from members of the community chants praise poetry of those involved. Today, one would be right to say that a great percentage of what public poets sing during performances and record is praise poetry. It is in the light of this that praise poetry occupies an important place in most African communities.
However, the function of praise poetry in every community is to boost the morale of individuals who are adjudged good, patriotic, and nationalistic. At the same time, it indicts individuals that violate and contradict ethics and values. It also serves as a record for the historical experiences of the people. Praise poetry also helps to unveil and propagate the medicinal potentials and the general utilities of inanimate objects such as plants and rocks. It also affords Africans a very effective medium for praising, consulting, invoking and requesting for favours from the supernatural forces. The Ekiti praise poetry in another light affords the elderly members of the community opportunities to display their knowledge of the history and culture of the people, for the education of the younger generation. Lastly, it allows members the opportunities to exhibit
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their artistic talent in oral composition and performance. It is in view of these that the study looks at Ado-Ekiti praise poetry.
Praise poetry involves a relationship between audience and performers. This important aspect of oral poetry is forgotten sometimes. It is easy to concentrate on the analysis of the verbal elements which could be on the style and content, imagery or perhaps transmission. However, all these have their place in oral literature. But one needs to remember the circumstances of the audience and performer relationship which has become a tool to reawaken culture among the people. That is, it has become a medium enlightening and reactivating the people about their culture. The more the audience interacts with performers, the more they get to know about the culture. The audience and performer relation is not a secondary or peripheral matter, but is integral to the identity of a poem as actually realised. It could be a poem for heroes, kings, great hunters, spirits and ancestors, animate and inanimate objects. This could be performed at different times or to different audiences or by different singers.
Therefore, praise poetry as a form of oral poetry is not just a survival of past ages and stages; it has become part of modern life as a result of the fundamental roles that its play continues in society.
1.1 Geographical Background
The Ekiti, a division of Yoruba province covering an area of about 5,000 Square kilometre; it is bounded to the North by Kwara State and to the West by Osun State. To the East is Kogi State and on the South is Ondo State. However, Ado-Ekiti, the capital is a centre of trade and has a population that accommodates foreign traders and craftsmen. Also, Ado-Ekiti is bounded to
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North by Iyin-Ekiti and to the west by Ilawe-Ekiti. To the East is Ijan-Ekiti and the south is Ikere-Ekiti.
According to Akinkugbe (1976) Ekiti is situated entirely in the tropics. It is located between longitudes 40 51 and 50 45 East of the Greenwich Meridian and latitudes 70, 151 and 80, 151 north of the Equator. Ekiti is mainly an upland zone, raising above 250metres above the area the sea level. It lies within the area underlain by metamorphic rock of the basement complex. It has a generally undulating land surface with a characteristics landscape that consist of old plain broken step-side out-crops dome rocks that may occur singularly or in group or ridges.