ISSN 1118-2806 [ . JJ TiT ft [ a i n f f r* n fnj UNIV ERSITY O F I BADAN LI BRARY Inquiry in African Languages and Literatures, NO 11, 2018 INQUIRY IN AFRICAN LANGUAGES AND LITERATURES l S'b ISSN 1118-2806 No. 11,2018 UNIV ERSITY O F I BADAN LI BRARY Inquiry in African Languages and Literatures, NO 11, 2018 INQUIRY IN AFRICAN LANGUAGES AND LITERATURES (INQALL) No. 11,2018 © Department of Linguistics and Languages, Faculty of Arts, Adekunle Ajasin University, Akungba-Akoko, Nigeria. All correspondence should be addressed to the Managing Editor, Inquiry in African Languages and Literatures, Faculty of Arts, Adekunle Ajasin University, Akungba- Akoko, Nigeria, or e-mail bolu oshodi@vahoo.com EDITORIAL BOARD EDITOR-IN-CHIEF EDITOR MANAGING EDITOR Oluyemisi Adebowale Temitope Olumuyiwa Boluwaji Oshodi EDITORIAL CONSULTANTS 0. Ajiboye University of Lagos F. 0. Egbokhare University of Ibadan L. 0. Adewole Obafemi Awolowo University M. A. Abiodun Ekiti State University F. A. Fabunmi Obafemi Awolowo University L. C. Yuka University of Benin L. Adeyemi University of Herrin v * __ „• *>.' V’ A Js x# „; * II UNIV ERSITY O F I BADAN LI BRARY mailto:bolu_oshodi@vahoo.com Inquiry in African Languages and Literatures, NO 11, 2018 Table of Contents 1. LINGUISTIC STRATEGIES OF KOLA AKINLADE'S LITERARY IDIOLECT Esther Titilayo OJO 1-11 2. TONAL HIERARCHY AND CONFIGURATION IN OPIN-EKITI VARIANT OF EKITi DIALECT OF YORUBA Akanbi Nasrudeen BALOGUN 12-24 3. A LINGUISTIC INVESTIGATION OF HUMOR IN WOLE SOYINKA S ALAPATA APATA S. A. DADA & S. A. OMOTUNDE 25-33 4. ISAMULO EWI YORUBA FUN IMUDURO ATI IDAGBASOKE AWUJO F. T. AJAYI ati I. F. OJO 34-42 5. A MORPHONOLOGICAL ANALYSIS OF DOMESTICATED HAUSA LOAN WORDS IN TIV LANGUAGE Martha Nguemo TERNA-ABAH 43-60 6. ATTITUDES TO INDIGEOUS LANGUAGES LITERATURE IN NIGERIA: IMPLICATION FOR INDIGENOUS LANGUAGE DEVELOPMENT Olushola Bamidele ARE 61-73 ^ 7. AFIHAN OBINRIN GEGE BI ADIYE TI N JEFUN ARA WON NINU ASAYAN ISE ALAWOMO LITIRESO YORUBA M. Ayo FASEHUN 74-83 8. A PROVERBIAL SEARCH FOR AUTHENTICATION OF THE YORUBA DRESS CODE AS A FORM OF IDENTITY Adeola Adijat FALEYE 84-96 9. STYLO-ANALYSIS OF FUNSHO AYEJINA’S STATUES OF POWER Omotolani Sadia OYIN-ADEJOBI 97-110 10. MESSAGE OF PEACE AND LOVE AS A COUNTER- FORCE TO BOKO HARAM INSURGENCY Kikelomo Victoria OLUGBEMI 111-123 11. A PRAGAMATIC STUDY OF SELECTED “iREMQJE” “ERE tSIPA ODE ’’HUNTERS DIRGE Oluwole AKINBODE 124-132 12. DYSLEXIA AND LINGUISTIC COMPETENCE AMONG CHILDREN: A CASE STUDY OF NATIVE YORUBA-ENGLISH BILINGUAL PUPILS IN OSUN STATE NIGERIA Bolanle Tajudeen QPQQLA Folorunso AWONIYI 133-147 IV UNIV ERSITY O F I BADAN LI BRARY V Inquiry in African Languages and Literatures, NO 11, 2018 13. A REVIEW OF BURTON LEISER’S THESIS ON THE UNNATURAL NATURE OF HOMOSEXUALITY Tamunosiki, V. OGAN 148-156 14. A DISCOURSE ANALYSIS OF THE USE OF CODE SWITCHING AND CODE MIXING IN CHINUA ACHEBE‘S NO LONGER AT EASE Folasade, Justinah ADEGBEMBO 157-166 15. CHALLENGES CONFRONTING INSTITUTIONAL FRAMEWORK FOR THE PROTECTION OF COPYRIGHT IN NIGERIA: PIRACY AND THE NIGERIAN VIDEO FILM INDUSTRY IN FOCUS Ekundayo 0 BABATUNDE & Olabisi, 0. BABATUNDE 167-179 16. THE CONCEPT OF OATH-TAKING AND NATIONAL DEVELOPMENT: THE ROLE OF LITERATURE AS A CUSTODIAN OF CULTURAL VALUES Folorunso ADEBAYO 178-185 17. THE REFLECTION OF TEACHERS IN SELECTED YORUBA COMIC FILMS: A SATIRE AND A LABEL Ifeoluwa Theophilus AKINSOLA & Adeyemi Abiodun ADEYINKA 185-195 18. AN EVALUATION OF ELIZABETH ANSCOMBE THOUGHTS ON CONSEQUENTIALISM Tamunosiki, V. OGAN 196-202 v UNIV ERSITY O F I BADAN LI BRARY Inquiry in African Languages and Literatures, NO 11, 2018 THE REFLECTION OF TEACHERS IN SELECTED YORUBA COMIC FILMS: A SATIRE AND A LABEL Ifeoluwa Theophilus AKINSOLA University of Ibadan, Department of Arts and Social Sciences Education. Ibadan ifeoluwa.akinsola@gmail.com & Adeyemi Abiodun ADEYINKA University of Ibadan, Department of Arts and Social Sciences Education. Ibadan. yemiadeyinkal3@gmail.com Abstract Teachers are professionals who develop and nurture young individuals into responsible and productive citizens. As such, the teaching profession is a noble profession which is expected to be respected by all and sundry in the society. Teachers as role models, who are professionally trained and certified, are men and women o f integrity, commitment, contentment and discipline. However, most people today do not see them this way, especially in Nigeria. This is partly due to the acts offew culprits, which the selected comic films satirize jocularly looking at the films from the perspective o f sociology o f literature and partly due to the way our society has labelled them, looking at the films from the perspective o f labelling theory in sociology. Hence, the reflections o f teachers in the selected Yoruba comic films are seen, in this paper, as both a satire and a label. The connection between comedy and satire in the Yoruba society suffices for seeing the reflection as a satire. This, on the other hand, is seen as a negative label on teachers in the society, as persons labelled are to behave in line with their label: according to the labelling theory. Therefore, while it is important that literature, in which film is a genre, satirizes societal ills, it is equally important that literary artists do not blur the social image o f certain people. I f this would be achieved, this paper concludes that generalisation must be avoided while satirising societal ills. Key words: Teacher, Teachers’ Image, Comic films, Satire and Labeling. 1. Introduction The teaching profession is one that requires much commitment, especially from the part of the major actor of the profession: the teacher. Teachers have much on their shoulders, if the teaching learning process would be successful. Because buck of their works is in the classroom, the teachers have overtime been reduced to conformists, who are isolated from the real world. However, a teacher is professionally saddled with the responsibility of developing and nurturing young citizens of a society, so that they can become responsible and productive citizens of the society. Oyekan (2000) opines that teachers are the most refined human species that skilfully develop and nurture the potentials of productive citizenry for meaningful creation of wealth, pleasure, engineering and survival. Thus, a teacher is seen as an educationist or an education professional that does not only impart knowledge of the subject matter into young individuals but also shape their mode of behaviour and thinking to become valuable individuals that can solve the problem of their society. Attesting to this, Amahala (1984) says because he is a man of many parts, a teacher is expected not only to impart knowledge but also understand children’s basic cognitive and social problems to foster adjustment of children. In doing so, teachers must see themselves as role model and as stated by Igwe (1990), have some characteristics like sense of honour, good mastery of subject matter and ability to communicate 186 UNIV ERSITY O F I BADAN LI BRARY mailto:ifeoluwa.akinsola@gmail.com mailto:yemiadeyinkal3@gmail.com •Si From the foregoing, it is obvious that the role of teachers in achieving quality education cannot be over-emphasized. One can out rightly state that the efficiency of teachers in the Nigerian teaching profession is a key to achieving quality education in Nigeria. This is why the National Policy on Education (2004) affirms that ‘’no education can rise above the quality of its teachers” . This implies that teachers are the hub of any education system (Ukeje, 1983). Efedi (2010) also agrees that the teacher occupies the central position in achieving quality education. He explains that the teacher has the job of setting up learning opportunities, providing learning experiences and utilizing relevant teaching skills and appropriate methods and media to bring learners into face to face encounter with the learning activities thai -ill enable them to acquire the desired knowledge, skills and values. In line with this. Otr 2 ■ explains that teachers must be accountable to what goes on in education. If students are expected to know more and to apply their knowledge skilfully, then teachers must be models of such learning. The quality of teachers is key to students’ achievement He affirms that quality education is not possible without competent teachers. It is, therefore, required of a teacher to acquire some needed skills and knowledge to be able to perform the above duties. A person must be trained and certified before being inducted into the Nigerian teaching profession. Emphasizing the interest and the commitment of individuals in the teaching profession and not only being trained and certified, Akpochafo, (1999) is of the opinion that new recruits into the teaching profession in Nigeria should be intelligent young men and women who are equally interested in the job. In order to ensure that round pegs are put in round holes, the Federal Government prescribed the Nigeria Certificate in Education (NCE) as minimum qualification for teaching in the primary and junior secondary school (FRN, 2004). One can therefore assume that the recruits into the Nigerian teaching profession are intelligent individuals that may either be committed to the job or not. Howbeit, the above assumption may negate what is obtainable in the society, as teachers’ reflection from the literary genre: comic film will soon lay bare in this paper. This will be done in the lens of the sociology of literature and the labelling theory in sociology. Meanwhile, we will give an overview of the connection between Yoruba comic films and satire, explain the theoretical framework and synopsize the selected Yoruba comic films before we delve into the analysis. 2. Yoruba Comic Films and Satire Nexus: An Overview The source of Yoruba drama and Yoruba films, by extension, has been traced to rituals and festivals of the pre-colonial Yoruba societies (Ogundeji,, 2014). The Yoruba masque dramaturges, an entertainment movement, which developed from Yoruba traditional festivals, is agreed by scholars to be the precursor to the Yoruba modem drama or the Ogunde Dramatic Tradition (to use Ogundeji’s term) which the Yoruba film is an offshoot (Adeleke, 1995; Alamu, 2010; Omolola, 2013; Adagbada, 2014; Ogundeji, 2014). Looking at the features of the ritual and later, deritualised Yoruba drama (Ogundeji, 2014), as the source of the Yoruba modem drama in which film is a medium, one can easily, though meticulously, posit the connection between the Yoruba films and satire. Adedeji (1981) has rightly observed that satire, also, originated from the Alarinjo masquerades. The masquerades did go around various Inquiry in African Languages and Literatures, NO 11, 2018 i 187 UNIV ERSITY O F I BADAN LI BRARY Inquiry in African Languages and Literatures, NO 11, 2018 cities and villages to entertain people with their chants and acrobatic displays, maximizing their liberty and license to say or pass comments on anybody or any societal issue (Ogunranti, 1987). By this, we see the major goal of satire, which is to reflect and correct some societal ills, though jocularly, being pursued and achieved by the Yoruba Alarinjo masquerades. This must have informed Ogunranti’s (1987) position that satire originated from the rituals and festivals of the Yoruba people. During rituals and festivals, satire is deployed through abusive/purification songs, the use of symbols and masks as well as magic from the priests and priestesses (Ogunranti, 1987). Ritualists and other participants did seize the festiveness opportunity to expose, ridicule and correct some degenerated individuals, no matter how noble the person might be in the society. The various modem dramatic movements, which Ogunde popularised in 1944, also followed after this tradition, as they used most of their stage plays to satirize some societal ills. When the film medium started with Ola Balogun’s Ajani Ogun in (1976), film producers, who were primarily former stage stars, used their films to achieve one or two goals of satire. In Ajani Ogun, the first Yoruba film, Ola Balogun presents the social problems of corruption and treachery; Ajani is made to fight a corrupt politician in order to retrieve his family land which the politician had illegally taken after the death of Ajani’s father (Alamu, 2010). However, satire was not so much loud in Yoruba films until the emergence of the comic genre of the Yoruba film, through Moses Olaiya Adejumo’s Orun Mooru in 1982. Baba Sala, as he is fondly called, is thus unarguably the pioneer of the Yoruba comic films (Alamu, 2010). The Yoruba comic film, from its inception, has a dual purpose of provoking laughter and curbing harmful human behaviour and actions. The curbing of harmful human behaviour through the deployment of comedy is the satirical element of any comic film. Baba Sala started comic films on this premise and other comic films producers who followed immediately like Bolaji Amusan (Mr. Latin), Bashir Omidina (Baba Suwe), Ajirebi, Dejo and many others who are just emerging like Olaniyi Afonja (Sanyeri), Kamilu Kompo, Ijebu, Baba Ijesa and the likes, followed after the footsteps of Moses Olaiya Adejumo (Baba Sala). These individuals have acted as comic characters in various genres of the Yoruba films and have produced comic films of their own. It is in this sense that we can talk of comedy in Yoruba films and as Yoruba film genre. Both in the films where these characters are featured and films that they single-handedly produced, comedy is employed for the dual purpose of provoking laughter and satirizing the societal ills. For instance, Mr. Teacher, by Bolaji Amusan, which is one of the two films selected for our analysis in this paper, presents much harmful human behaviour of some culpable teachers, with a highly saturated comedy. We will see this more vividly as this paper progresses. It is, therefore, conspicuous that comedy and satire are two sides of a coin when we talk about the Yoruba comic films. Laughter among the Yoruba is not done aimlessly, as a person who laughs without a reason is tagged insane. In this light, the laughter that comic films provoke is to bring to fore the various degenerated behaviour of human beings in a very hilarious manner. Laughing at these acts ridicules and makes an object of laughter, the exhibitor of such acts. 188 UNIV ERSITY O F I BADAN LI BRARY Inquiry in African Languages and Literatures, NO 11, 2018 However, some scholars have attempted to distinguish between comedy and satire. Abrams (1981) argues that while comedy evokes laughter mainly as an end in itself, satire derides, that is, uses laughter as a weapon and against a butt (an individual, a class, an institution, a nation or the entire human race) existing outside the work itself. One should note that Abrams’ observation is self-contradictory in that if comedy provokes laughter that satire uses to ridicule a butt, then it may be an underdog position to set such a thick line of demarcation between comedy and satire. Alamu (2010) has rightly observed that both comedy and satire are interrelated and at times inseparable and that a thin line of demarcation exists between them if there is any difference at all, for one employs the other to achieve its goals. Obviously, comedy produces the raw material (laughter) for satire and it, comedy, may not become a finished product without the instrumentality of satire, at least in the Yoruba society, where laughter cannot be said to be an end in itself but a means to an end. It is in the light of this position, that this paper examines the reflections of teachers in Yoruba films that are comedy as a means to satirize certain ills in the teaching profession. This can be fully grasped with the lens of the theories on which our analysis is hinged. We will, therefore, launch into the clarification of the theoretical framework before our analysis can lay bare our position. 3. Theoretical Framework The work employs labelling theory and sociology of literature as theoretical orientations. The sociology of literature is a theory that portends literature as the reflection of the society. It emphasizes the relationship between literature and the society. According to the theory, no literary work (spoken, written or acted) can be isolated from the society from which it emanated. Scholars such Louisi de Bonald, Hogarts, Karl max, and Robert E Scarpit (Ogunsina, 2006). have contributed immensely to the development of sociology of literature as a literary theory, As explained by Oluwatayo (2014), most of these scholars agree that the role of the theory is to show that literature expresses societal ideology in a bid to applaud the just ones and condemn the unjust: suggesting positive changes. Our knowledge on the sociology of literature, as explained by Adeyemi (2003), has shown literature and its society as Siamese twins. Since the writer or performer of any literary work is not from another planet other than earth and that he comes from the society he is writing or performing for, societal happenings and experiences cannot be found wanting in such artistic work. In the words of Fatokun (2009): .. iya to baso naa 16 bewu, omo iya ki i ya. Bi litireso ba h wo sakun awota idagbasoke ati awon isele awujo, a je ojuda ise re 16 h se. Okan lara ona ti a h gba yawdran isele awujo ni litireso, iwulo re ko si lohka. (o.i 150) ...both cloth and coat have the same mother, siblings of same mother don’t separate. Literature does its main work when it expresses societal happenings and development. 4 Literature is one of the means of depicting societal happenings, and its usefulness is numerous, (pg. 150) Since this study is using artistic work (films) as its case study, using the sociology of literature as the theory of analysis will help to a great extent. The various portraits of teachers in the films 189 UNIV ERSITY O F I BADAN LI BRARY Inquiry in African Languages and Literatures, NO 11, 2018 selected would be seen as a satire of the culprits in the teaching profession. The jocular events in the films, with the theory of sociology of literature, would not be seen as a mere comedy but a satire sending a corrective message to the society. The labelling theory came into prominence in the 1960s. It is otherwise known as the societal reaction theory (Lemert, 1974). The intellectual heritage of labelling is directly traceable to the symbolic interactionist school of thought as expressed by W. I. Thomas, G.H. Mead, Dewey among others. The founding figure of the theory is, however, Howard S. Becker, whose work in the 1960s developed into what is known as the labelling approach to deviance. According to Becker (1963), deviant behaviour is that which people so labelled. From Becker’s point of view, behaviour becomes unacceptable because it is labelled so and people who exhibit such behaviour become deviants based on the label. Basically, labelling theory involves the ideas that deviances have to be witnessed by others; certain perception of the act has to be made, the act has to be labelled or defined by others; the person committing the act has to recognize and accept that both the act and they themselves are deviant; the people witnessing and perceiving the act see the person committing it as deviant (Becker, 1963). This theory is, thus, used to augment the sociology of literature, since this paper sees the reflection of teachers in the selected Yoruba comic films not only as a satire but a label on the teachers’ image. 4. The Synopsis of the Selected Films The two Yoruba comic films selected for this study are: Mr Teacher by Small World Nig. Ltd and Teacher Oko (Bush Teacher) by Seyi Adeoye. 4.1. Mr Teacher This film is primarily about two teachers in one Nikky Bee Comprehensive High School—Mr. Badmus (English teacher) and Mr. Adisa (Yoruba teacher). Mr. Badmus decides to kick back on Mr Adisa who has offended him long time ago. He shows the intention at the beginning of the film, when Mr. Adisa reports as the new Yoruba teacher of the school. They both engage in plotting downfall for each other, though their individual personal characters bring about their downfall. The two teachers engage in various corrupt practices and they do not go scot free. Mr. Adisa, who sells condoms to students and hangs out with female students, is caught by the principal while selling unused question papers and answer scripts to a cake (akara) seller. He is therefore demoted from being a subject teacher to an ordinary gateman. Mr. Badmus, who also engages in taking advantage of female students sexually, embezzles the students’ excursion fees and impregnates Titilope, a soldier’s daughter he tutors. The occurrence results to the death of the girl. He is also reported by Mr. Adisa to the Babalawo whose wife he hangs out with all in the name of private lesson. He therefore suffers arrest from the two sides while the film concludes. Others, like the Biology teacher and the principal whose names are unmentioned in the film are also involved in one corrupt practice or the other. 4.2. Teacher Oko (Bush Teacher) This film is about the unprofessional attitudes and misconducts of both the teachers and the Head Mistress of an unnamed primary school situated in an unmentioned rural area. The teachers of the school engage in all sorts of misconducts such as taxing the pupils with food stuff and farm produce as punishment, harassing female pupils sexually, neglecting their primary duty which is teaching, awarding marks with favouritism, using pupils as house helps 190 UNIV ERSITY O F I BADAN LI BRARY Inquiry in African Languages and Literatures, NO 11, 2018 and substituting extra-curricular activities with farming and hunting to the benefits of teachers. Mr Alao, who marks the class attendance for the whole week on Monday, gets himself and the school into problem. Mr Ariyo also impregnates Amoke (a pupil). The accumulation of all these in connection with the help of a parent who lives in the city brings the operation of the mushroom school into an end as the police come from the city to their rescue. 5. The Satire of Culprit Teachers in the Selected Yoruba Comic Films Having realised that the goal of comedy, among the Yoruba, is not only to provoke laughter but also to satirize the societal ills, the events and the reflections of teachers in the selected Yoruba comic films could be satirically explained. Interpreting the events in the selected films through the theory of sociology of literature, it is obvious that the films comically reflect some culprits in the teaching profession, as we have them in our society. The following events and corrupt practices, though jocularly presented in the films are satires: Examination Malpractices: This refers to improper habit(s) displayed by students, teachers, examiners, invigilators or management before, during or after examination. As seen in the selected films, this has become a normal phenomenon in the education system of Nigeria. This could be pointed out in both films used as examples. For instance, Mr. Adisa in the film Mr Teacher sold question papers and answer scripts to a certain cake (akara) seller. He also assured a female student whom he was hanging out with of the questions that will come out in the examination and promised her that she would pass all subjects. This is not strange in the society. Teachers engage in this form of behaviour and through that bring shame and reproach to the teaching profession. Sexual Harassment: This is a deliberate act of annoying someone sexually, especially an opposite sex. This is not supposed to happen in the school setting especially between teachers and studenst. Unfortunately, it is common. Mr. Badmus, Adisa and the principal of Nikky Bee Comprehensive High School in the film, Mr Teacher were guilty of this crime just as many Nigerian teachers of today are. Also, in the film, Teacher Oko, Mr. Agbaje and Mr. Ariyo were the culprits. They developed interest in the same girl, Amoke who collected money from one (Mr. Agbaje) for the other (Mr. Ariyo). This misconduct displayed by most Nigerian teachers has made students and the society at large to trample upon the respect and honour given to teachers and the teaching profession. Embezzlement: Teachers are expected to instil in the young minds the spirit of contentment and selfless services. This has stopped been the case in Nigeria, as some bad eggs in the teaching profession look for ways of extorting students and embezzle the school fund. Mr. Badmus exhibited this character in Mr. Teacher, by embezzling the excursion fees that was entrusted to his care by the school management. This always brings set back to school programme and hampers the progress of the school. Hence, the reputation of teaching as a profession is damaged. Unhealthy Relationship with Students: Teacher-student relationship is very important in the achievement of education objectives. That kind of relationship has a tone, so that teachers will not engage in unhealthy relationship with the students. Despite this, some culprits in the teaching profession still engage in such unhealthy relationship as seen in the selected films. For 191 UNIV ERSITY O F I BADAN LI BRARY Inquiry in African Languages and Literatures, NO 11, 2018 instance, selling commodities to students in school is unhealthy, not to talk of selling condoms to teenagers like them as displayed by Mr. Adisa in Mr. Teacher. In the same film, Mr. Adisa and Mr. Badmus’ act of hanging out with female students were also instances of having unhealthy relationship with the students. Mr. Ariyo and Mr. Agbaje in the film, Teacher Oko also engaged in such relationship with Amoke. In the same film, teachers such as Mr. Agbaje used students in cooking at home. It is not an overstatement that there are teachers in our society that involve in such unhealthy relationship and it is not proper for a progressive mind to shy away from the facts that such an act has made teaching to be stopped being seen as a disciplined profession in Nigeria. Mannerism: This pertains to a group of verbal or other unconscious habitual behaviour peculiar to an individual. Teachers are not supposed to be given to mannerism for efficiency sake. It is unfortunate that by observation and through the portrayal of the selected films, most teachers in Nigeria exhibit behaviour like foul language and a particular form of dressing. In Mr. Teacher, all the teachers were fond of uttering foul and abusive language while teaching. The Biology teacher, whose name was not mentioned in the film, aggressively abused students for not understanding a topic she ought to re-explain. Both the protagonist (Mr. Badmus) and the antagonist (Mr. Adisa) were very easy to criticize for their use of foul language as mannerism was very glaring. On one occasion, Mr. Adisa abused a student called Edunjobi for answering a question wrongly. In Teacher Oko also, all teachers were known for this kind of mannerism. For instance, Mr. Alaba abused his class for applauding a student who answered his question correctly but not according to how he wanted it. He went to the extreme by saying the students were insane. This kind of mannerism could go a long way in affecting the motivation of students towards contributing to class discussion and thus affecting their academic performance. This shows unprofessionalism on the part of teachers. Also, nearly all the teachers used in the two selected films were known for a particular way of dressing. This mannerism is also found prominent among Nigerian teachers. Some males, for instance, have a peculiar way of turning in their shirts, knotting their ties, tying their belts and have a peculiar level they placed their bands. This kind of mannerism has been seen by experience and observation as having bad influence on students. This is because teachers are role models and the students are likely to imitate any of their habits. Administrative Misconducts: Teachers have some administrative duties that must be carried out with discipline and integrity. Some are made class teachers in order to oversee a class. In doing this, class attendance must be marked regularly. Mr. Alao, the class teacher of Primary Four B in the film, Teacher Oko, was found wanting in this administrative task. As a matter of misconduct, he marked the attendance register for the week once and for all on Monday, so that pupils that were present on Monday were automatically marked present for the whole week and vice versa. He also collected bribes from students who come late in order to mark them present. Though the occurrence of this in the society could be argued, its reflection in this form of the society literature (film) shows that it does occur to some extent and when it happens, it shows the inefficiency of teachers. In Mr. Teacher also, the Principal of the school engaged in another form of administrative misconduct by putting laws in to his own hands when Mr. Adisa was caught selling examinations’ papers. Instead of reporting him for proper discipline, he demoted him from being a subject teacher to a gateman. Mr. Badmus embezzlement of 192 UNIV ERSITY O F I BADAN LI BRARY Inquiry in African Languages and Literatures, NO 11, 2018 students’ excursion fee in the same film was also an act of administrative misconduct. Such misconduct displayed by most Nigerian teachers is no doubt damaging the reputation of the teaching profession. Indecent Dressing: Observation and experience over the years have shown that most Nigerians just dress the way they like. No wonder, it is scarce to get a Nigerian film that will depict medical doctors or even bankers as people who dress anyhow but there are more than enough Nigerian films outside that do depict teachers as people who dress shabbily to school. Examples of such films are the two Yoruba comic films used in this study.. Mr. Adisa in Mr. Teacher was even scolded by the principal for dressing roughly, though the principal’s dressing as well was not formal. In the same film, the Biology teacher was wearing a very transparent dress that one of her students, Edunjobi started imagining making love with her. This is found in our film, a genre of Nigerian literature. This is because such a event could happen in the society. It would therefore not be an overstatement to say that this habit has ridiculed how teachers are being addressed in the society because the way you dress, you will be addressed says an adage. Abuse o f Extra-Curricular Activities: As important as extra-curricular activities are to the all­ round development of a child in school, teachers could be tempted to abuse its use. As seen in the film, Teacher Oko, Mr. Agbaje was using students as house help, claiming that they were passing through extra-curricular activities in Home Economics. Mr. Alao also in the same film made use of male students in hunting, claiming that they were also passing through extra­ curricular activities in both Agricultural Science and Physical Education. Though this was comically exaggerated by the artists, this writer is of the opinion that this anomaly must have been heard or noticed by the Play Wright in the society. 6. The Societal Label on Teachers as Reflected in the Comic Films The comic films analyzed as satires in this paper in one way or the other label teachers as deviants. This is, undoubtedly, partly due to the societal experience of the film producers about some deviant teachers and partly due to the label placed on such deviants in the society. In an attempt to fully jocularly ridicule these individuals, the films end up in blurring the image of teachers in the society. At no scene, the films present one or two teachers as they should be in the society but erroneously generalize that teachers are degenerated individuals. All the teacher-characters in both films {Mr. Teacher and Tisa Oko) arc presented as such, without any caveat. A mind, which is not so much familiar without what is obtainable in the Yoruba society as par teachers but is well versed in literature and appreciate the theory of sociology of literature, would not hesitate to insinuate that the satires in the films are what teachers are in the Yoruba society, for literature of any genre whatsoever mirrors and reflect the society. However, feelers observations and personal experiences of these present writers would prove the above to be wrong. Though, there are culprits in the teaching profession, there are still and there would still be men and women of integrity in the profession, no matter how our society continues to water it down. 193 UNIV ERSITY O F I BADAN LI BRARY Inquiry in African Languages and Literatures, NO 11, 2018 At the surface, it may seem that certain Yoruba adages about deviant label exonerate the comic film producers. The Yoruba do say that “ eni kan ni i mu ni i bugba eni” and “enikan 16 foju ni ilu ti won fi so ilu naa ni ilu afojti”, meaning that “ one slave brings blame to other” and that “ a town tagged ‘Blind Town’ at time has just one blind person” . The film producers must have followed this pattern of thought in generalizing the deviant acts of culprit teachers in their films. However, when one looks closely into the Yoruba thought about deviant acts and sanction and one meticulously examines such proverbs like “ ika to ba se loba ge” meaning that “ the king punishes only the offender” , the idea of generalisation in ridiculing bad behaviour would be debunked. Besides, the earliest means of satire: rituals and festivals, did not have such feature of generalization, as the individual that was deviant would be made glaring. It is understood that this may not be in any way possible in films but the films should have, at least, avoided generalization by reflecting some integrity and committed teachers. 7. Conclusion The Yoruba comic films, analyzed in this paper, have done so well in satirising the various harmful teachers’ behaviour. As we have seen, the films have done not so well in labelling teachers deviants on the basis of few deviants observed in the profession socially. This label has an adverse effect on the teaching profession and the Nigerian society at large. It can go a long way to encouraging more deviant acts among teacher, for the labelling theory posits that individual labelled as deviants are likely to exhibit more deviant acts. This is because people see themselves as the society see them and they tend to behave in line with what their society name/label them. The Yoruba believe that “ oruko a maa ro ni, apeje n ro eniyan” meaning that “ one’s name determines one’s behaviour just as a person’s nickname does” . We should, therefore, reorient the role, image and honour of teachers in the society and sensitise film producers on how to balance the reflection of societal ills in their films. Care should be taken if we would not send a wrong impression to people of other lands about our land, all in the name of entertaining and satirising. However, Nigerian teachers’ efficiency, also, needs to be reoriented. As seen in the selected films, our society is currently in a time when corrupt practices and negligent of duty are the order of the day, education sector not being excluded. Teachers’ nonchalant attitudes, corruption and negligent of duty have caused a lot of havocs to the teaching profession. If the next generation of films and other artistic works would speak well of teachers, urgent and effective measures need to be taken to curb the various ill acts of some culprits in the teaching profession. References Abrams, M.H. (1981). A Glossary o f Literary’ Terms. London: Hold, Phinehart and Winston. Adagbada, O. (2014). “ Contemporary Women’s Voice In Yoruba Film Industry” . Research in African Languages and Linguistics. Vol. 13, pp 15-26. Adedeji, J.A. (1981). “ Alarinjo: The Traditional Yoruba Travelling Theatre” . Ogunbiyi, Y. (ed.) Drama and theatre in Nigeria: A Critical Source Book. Lagos, Nigeria Magazine, pp. 221-248 Adeleke, D.A. (1995). Audience Reception of Yoruba Films: Ibadan As A Case Study. Ph.D. Thesis, University of Ibadan. 194 UNIV ERSITY O F I BADAN LI BRARY Inquiry in African Languages and Literatures, NO 11, 2018 Alamu, 0 .0 . 2010. Aesthetics ofYorubaFUm. Japan: Lingua-Culture Contextual Studies in Ethnic Conflicts of the World (LiCCOSEC), Research Institute for World Languages, Osaka University, Japan. Adeyemi, L. (2006). Tiori Litireso ni Ed'e Yoruba. Ijebu-ode: Shebotimo publications,Nigeria. Akpochafo, W.P. (1999). “ Our Teachers in the Twenty-first Century, Square Pegs for Bounds Holes” . Journal o f the Association o f Teacher Education. Amahala, B.M. (1984). ‘’The Teacher in the Class Room” in Ukeje, B.O. (ed) Foundations o f Education. Benin City: Ethiope Publishing Co-operation. Becker, H.S. (1963). Outsiders: Studies in the Sociology o f Deviance. New York: Free Press. Efedi, O.E. (2010). ‘‘The Challenges of Curriculum Implementation in Nigeria Schools” in Iloputaife, E.C. et al (ed) Issues and Challenges in Nigerian Education in the 21st Century. Onitsha: West and Solomon Corporate Ideals Ltd. Pages 445-465 Fatokun, F. (2009). “ Iha ti Litireso ko si 116 Agbara ninu Idagbasoke Awujo: Ayewo A won Ere- onise Apileko Ajemp-Itan-Gidi” . Itansan Oodua; Jona Egbe Oluko Ede Yoruba Koleeji Ehsi'i, Naijlria. Foluumu Kin-in-ni. O.i 150-162. Igwe, S.O. (i990). Professional Handbook for Teachers. Owerri; New African Publishing Co. Ltd. Lemert, E.M. (1974). ‘‘Beyond Mead: The Societal Reaction to Deviance.” Social Problems 21: 457-468. Obi, R.O. (2010). “ Challenges Facing Teacher Education in Nigeria” in Iloputaife, E.C. et al (ed) Issues and Challenges in Nigerian Education in the 21st Century. Onitsha: West and Solomon Corporate Ideals Ltd. Pages 466-481 Ogundeji, P.A. (2014). Yoruba Drama in Time Perspective. An Inaugural Lecture, 2013/2014 session, University of Ibadan. Ogunranti, J.I. (1987). Satire in Yoruba Society. M.A Project, University of Ibadan. Ogunsina, B. (2006). Sociology o f the Yoruba Novel, An Introduction. Ilorin: Integrity Publication. Oluwatayo, B.Y. (2014). “ Imo-ijinle-ero Yoruba ninu Oriki Orile: Agbeyewo Oriki Orile Alawe” . RALL: Research in African Languages andLingistics. VOL 13, pages 114 -133 Omplola, B. 2013. The Study of Oral Tradition in Yoruba Movies. Ph.D. Thesis, University of South Africa. Oyekan, S.O. (2000). Foundations o f Teacher Education. Okitipupa: Ebun-ola Printers (Nig) Ltd. Ukeje, B.O. (1983). “ Teachers Education for Quantitative and Qualitative Education” , National Seminar by National Education Research Control, Kano 195 UNIV ERSITY O F I BADAN LI BRARY