ABSTRACT
This
research explores critically the context of dramatic performance in Olojo
Festival, a traditional celebration in favour of Ogun in File Ice. In the
course of discussing the dramatic elements and performances embedded in it, the
props and costume used also come to the fore. It further questions the role of
Ogun as an hero before his deification as purported by the Euhemerist, with a
view to accounting for his bravery, courage and greatness.
His
role as the god of Iron and why adherents still celebrate him till today is
also explained. The research finally seek to explore the significance of each
costume as they underscore and portrays the immense role of Ogun, the God of
Iron.
TABLE OF
CONTENTS
CHAPTER ONE
Background
of the Study
Statement
of the Problem
Scope
of Study
Objectives
of the Study
Research
Questions
Definition
of Key Terms
CHAPTER TWO
Literature
Review
Theoretical
Framework
CHAPTER THREE
History
of Olojo festival in Ile-Ife
Origin
of the Ogun
Cultural
Significance of Costumes used in Olojo Festival
Different
Props used during Olojo Festival
The
Ooni and the Osogun as the Protagonist and the Antagonist in Olojo Festival
Visible and Invisible Audience in Olojo Festival Drums, Songs and Dances in
Olojo Festival.
CHAPTER FOUR
The
context of spirituality in Aare crown and Osogun’s garment
Dramatic
Elements in Ooni and Osogun’s Clash
Ritual
Ceremonies in Olojo Festival
CHAPTER FIVE
Conclusions
References
CHAPTER
ONE
1.1 Introduction
The
Yoruba are fond of worshipping the spirits of their ancestors. Like other
cultural groups who are animistic, the Yoruba believe that their ancestors play
a significant role in the lives of the living, hence their penchant for worshipping
the spirits of their departed ancients. Oderinde (2002), for instance, affirms
this important aspect of Yoruba belief system when he posits that “Ancestor
worship is an essential aspect of Yoruba culture” (3). Since theatre evolved
from ritual performances, especially in an animist society like that of the
Yoruba; it can be said that ancestors worship among the Yoruba laid the
foundation for theatre. Besides, the popularity of the art stems from its
acceptance as a medium that enhances mimesis of the gods and other
preternatural beings by humans. Among the Yoruba, like other African cultural
groups, festivals feature prominently theatrical elements. As a matter of fact,
festivals are conceived as part of theatre (Umukoro, 2007).
These
festivals can be classified into three, namely: Festivals organised for the
celebration of agricultural products, such as the new yam festival and egungun
festival. dedicated to the memory of some powerful and historical figures in a
particular community, such as Ogun festival, Oranmiyan festival, Sango
festival, and many more. The third category falls under historical festivals
which are organised in remembrance of a particular incident that happened in a
community be it good or bad.
The
second classification in which festivals are held in honour of the gods
captures the thrust of this research work. These festivals, according to
Umukoro (2007) are also known as festival theatre, because of the
immanence of theatrical elements that shape the performance of the
festivals. Songs, costumes, props and dances, for instance, are used to project
communal spirit and unique identity of a given god being celebrated. For
worshipers of deities, like Ogun, Sango, Obatala and other Yorùbá gods known
collectively as òrìsà ; festivals help to transpose them from material world to
the unseen world. The Yoruba pantheon
consists of hundreds of gods, worshiped for different purposes, each
representing natural or spiritual elements or human emotions. Some of the gods
existed before the creation of the earth and others are heroes or heroines that
were deified after their death Other
deities are natural forces such as mountains, hills and rivers..
In
Ile-Ife, these gods are honoured, reverenced and worshipped particularly during
festivals.. One of the festivals celebrated in Ile-Ife and devoted to the
memory of a Yoruba god is Olojo. This Olojo is specifically about Ogun worship. The
festival affords devotees of the god an opportunity
to offer sacrifices to him and receive his blessings. Ogun worship facilitates
relationships and intimacy between the Yoruba god of iron and his adherents.
1.2 Statement of
the Problem
Ogun is the Yoruba god of metallurgy. It is believed by his
adherents that he once lived and became deified after his death, hence the
euhemerist study of the god in the pantheon of Yoruba orisa. Considering the
popularity of this god, many research works have been carried out on him, with
specific mention of his lifestyle, power, struggles and death. Besides, his
worship among the Yoruba has also received scholarly attention, though little
work has been done on his euhemerism in Ile-Ife, especially the use of Olojo
festival to enliven the memory of the god. This research, therefore, examines
the image of Ogun in Olojo festival and the contexts of drama that characterise
the festival. The research seeks to identify various theatrical elements that
make Olojo a popular festival among the people of Ile-Ife and beyond.
Akporobaro (2005), for instance, believes that festivals, masquerading and
ritual performances can be described as the dramatic genre of African oral
literature. Though the foregoing oral elements are not drama per se,
they possess dramatic elements. This explains why this research picks up Olojo
festival as a focus of study with a view to identifying those elements of drama
in it. The study carries out an extensive research on the place of Ogun worship
in Olojo festival. Since costumes are significant part of festivals as they
reflect and portray the characters, this research also explores the
significance of each costume and the prop used in the festival as it helps to
reflect the hero (Ogun) that is being celebrated.
1.3
Research Questions
The
research questions seek to explore the context of dramatic performance in Olojo
festival.
This
project is informed by five central questions:
1. What
is the concept of dramatic performance in oral literature?
2. How
is Ogun worshiped in Ile-Ife?
3. What
is the cultural significance of Olojo festival in Ile-Ife?
4. What
are the theatrical elements in Olojo festival?
5. What
is the cultural significance of the theatrical elements?
1.4
Objectives of the Study
The
aim of this research is to explore the contexts of dramatic performance in
Olojo festival in relation to Ogun worship by the people of Ile-Ife during the
festival. The study also seeks to explore the kind of relationship the
descendants of Ile-Ife keep with their ancestors.
Consequently,
the main objectives of this study are to:
i.
Examine the historical origin of
olojo festival in Yoruba land
ii.
Discuss the nature of olojo
festival through the dramatic performance.
iii.
To state the context of spirituality
in Aare crown and Osogun’s red regalia
iv.
To explore the significance of each
costumes and their relationship in Ogun worship
1.5
Significance of the Study.
While there are various controversial questions on whether
the dramatic performance, costumes, characters the props portrayed in festivals
in Nigeria are in anyway significant. This works therefore aims to investigate
the significance of this African dramatic performance. This will entail the
dramatic performance carried out in the celebration of Olojo festival
and the mythology of Ogun. In effect, the research seeks to explore and
establish Yoruba Indigenous identities through cultural festivals and
decolonize the minds of many Yoruba about the traditional practice of Ogun
worship. This work will also validate how the Ogun worshipers relate
with their god, Ogun (the god of iron), in order to prove that their god
still live in them.
Finally, While colonialism and the advent of the European in
Africa has turned the Africans away from there indigenous way of life, this
work aims to show the supremacy of the African gods as part of the uniqueness
of the African culture.
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