Peace and Conflict Studies
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Item Womanish in Nigerian folklore and drama(1987) Layiwola, D.Item C.L.R. James and his role in the history of African cultural and political movements(The Nigerian Institute of International Affairs, 1988-10) Layiwola, D.Item Dance and society in mutual interpretation: the case o f Nigeria(Obafemi Awolowo University Press. Ile-Ife, 1989-01) Layiwola, D.Item KOLA OGUNMOLA: A SOCIO-CULTURAL STUDY OF HIS FOLKLORIC PLAYS(1991-06) ADEKOLA, O. O.The Yoruba modern travelling theatre traditions has been a major point of focus by some scholars of the performing arts in the recent past. Their interest in this tradition is probably due to its educative technique and its entertaining and didactic nature. Some of these scholars have deliberated on various aspects of Yoruba theatre and drama, and studied some of the Yoruba popular dramatists with the aim of highlighting their innovative techniques. In their studies, therefore, they have suggested several ways in which the Yoruba cultural heritage can be revived for the benefit of the resent generation and the future Nigerian gen rations. The renowned performing artists w o have been studied include the late Hubert Ogunde, the late Kola Ogunmola, Oyin Adejobi, the late Duro Ladipo, Moses Olaiya Adejumo (alias Baba Sala), and a host of others. Studies on these performing artists range from their organizational ability, their physical presence on stage, their innovative techniques, their style and their interest in traditional material for production, to language use and manipulation and their contributions to the socio-cultural, economic and moral development of the Yoruba society in particular and the Nigerian nation in general. Unfortunately, however, the present writer has discovered that not much has been done on the work of the late Kola Ogunmola who is generally believed to have been a seasoned and renowned performing artist in the 1950s and 1960s. Moreover, it has also been discovered that the folkloric plays of Ogunmola have been only briefly touched upon and analysed by scholars. In the light of this situation, the present writer decided to look more closely into the content of the late Kola Ogunmola's folkloric plays with the aim of analysing the philosophical thoughts behind them in a socio-cultural context. It is our hope that the findings of this research would be of benefit to the contemporary and future Yoruba societies and to the community of scholars world-wide. This is without prejudice to the enduring value of the plays themselves. The first chapter is an introductory one which discusses the rationale, conceptual framework and the scope of the study, the methodology followed and the life history and philosophy of the late Kola Ogunmola. A typological survey of Ogunmola's plays is made, while a thematic analysis of his folkloric plays is briefly attempted. Finally, the significance of folklore in Yoruba socio-cultural life is discussed at some length. The second chapter attempts a review of approaches to folklore, literature and theatre studies and highlights some topics which have been discussed by previous writers on the Yoruba travelling theatre tradition and on the personality of the late Kola Ogunmola. The views, comments and submissions of these writers are carefully examined in order to find out which, among these, still remain valuable or relevant and which ones need to be set aside. Chapter Three makes an in-depth study and attempts a critical discussion in a textual analysis of each of Ogunmola's folkloric plays and finally makes some comments on the socio-cultural and economic messages in the plays with particular reference to the Yoruba people of Southern Nigeria. In Chapter Four, the stylistic features of the Yoruba language and Ogunmu1a's expertise in the manipulation of the language and the musico-poetic aspects of Ogunmola's folkloric plays are discussed. Chapter Five concludes the dissertation with comments, views and submissions on Ogunmola's contribution to modern theatre and drama and his philosophical message, as revealed in the plays, to both the people of his time and to future generations. Finally, it touches upon the future of the modern Yoruba travelling theatre and the benefits that are expected to be derived from it.Item Samuel Beckett and the theatre of deconstruction: an exegesis on form(Colin Smythe, 1992) Layiwola, D..Item OSOGBO FESTIVAL OF IMAGES AND YORUBA ART HISTORY(1994-04) ADEJUMO, E. A.Osogbo, the capital of Osun State of Nigeria, has become very popular as a centre of art and culture in Yorubaland for many years. Both traditional and contemporary art forms are kept alive in the town, but the attention of the outside world has been focused mainly on the latter while the major aspect of the former, the festival of images, has been conspicuously neglected. The main purpose of this study is to examine this annual ceremony which involves a processional display of the traditional (sculptural) images of the town for a deeper understanding of the artistic heritage of the town and the entire Yorubaland. Through participant observation and interview, the origin, development and sociological significance of the festival were investigated. The images involved, in the festival were identified and compared with the representation and worship of the deities in other Yoruba towns such as Ilobu, Ibadan and Esie. It was found that the annual festival of images at Osogbo is meant to honour, propitiate and petition Sonponna) the Yoruba god of small-pox and other pestilences; and that Yoruba festivals involving many images are mostly festivals of river deities at which the symbolic images of the respective deities, priests, priestesses or worshippers play a very prominent role. The festivals also seem to have some historical implication. They are in one way or the other connected with Old Oyo. The inhabitants of the present site of Esie migrated to the town from Old Oyo in the eighteenth century. Available evidence shows the images at Esie as the oldest, dated to the eleventh century A.D. However, there is no proof that the festival has existed uninterrupted since that time. The most recent instances are therefore not ascertained as continuations of the practices in Esie. They are probably instances of revivalism.Item Egungun in the performing arts of the Yoruba: the case study of Osogbo(Institute of African Studies, University of Ibadan Ibadan, 1995) Layiwola, D.Item Dyeing in Osogbo township(Institute of African Studies, University of Ibadan Ibadan, 1995) Pogoson, O. I.Item Irish folktales and Beckett's Molloy: a study in tropism(Colin Smythe, 1996) Layiwola, D.In: A. M. Massoud, Literary inter-relations: Ireland, Egypt, and the far east, Irish literary studies 47. Pp. 78 - 82Item Just before the blackout: a reconstruction of the last hours of Ken Saro-Wiwa, and eight other MOSOP activists(Olatunde Tejuoso, 1996) Olorunyomi, S.Item Fela Anikulapo-Kuti: performance as African carnivalesque aesthetics(Indiana, PA : Literary Griot, 1996) Olorunyomi, S.Item Theatre in the Niger valleys(Olatunde Tejuoso, 1996) Olorunyomi, S.Item No woman no mask: ki-yi m’bock and the recommendation of a gendered drama(AMD Publishers, 1996) Olorunyomi, S.Item Fela: death and the king hornsman(The Nigerian Field Society, 1997-10) Olorunyomi, S.Item Africans field research and the realm of value(John Archers (Publishers) Limited, 1999) Layiwola, D.Item Fieldwork experience and the documentation, mediation and analysis of dramatised culture(John Archers, 1999) Layiwola, D.Item A visual arts methodology(John Archers (Publishers) Limited, Ibadan, for Institute of African Studies University Ibadan, Ibadan, 1999) Pogoson, O. I.Item A visual arts methodology(John Archers (Publishers) Limited, 1999) Pogoson, O.I.Item A handbook of methodology in African studies(John Archers, 1999) Layiwola, D.Item Africans field research and the realm of value(John Archers (Publishers) Limited, 1999) Layiwola, D.