A self-praise, sent to us by Amore David Olamide.
If all odds should favour to define me
I’ll sing of letters in their colouring brass…
A poem sent to us by Amore David Olamide, praising the Ijebu people of Yorubaland. The Ijebu kingdom was formed around the fifteenth century and due to its position on the trade routes between Lagos and Ibadan became wealthy and powerful in the eighteenth and nineteenth centuries. The Ijebu have historically been praised for their business acumen and talent for trade.
The Ijebu Dynasty, although split into major divisions – Ijebu -Ife, Ijebu-Igbo, Ijebu-Ode, Ijebu-Ososa and Ijebu-Remo – has managed to remain united as one, under the leadership and authority of the Awujale (Awujale is the royal title of the King of Ijebu Kingdom) who seats in Ijebu-Ode.
One of the prominent Ijebu deities is Agemo, celebrated mid-yearly and the celebration event is used as an opportunity to unite and resolve disputes between Ijebu communities by gathering representatives called the Alagemos from the affected factions to discuss and resolve their dispute. The Oro is another notable deity of the Ijebus who is believed to purge the society of evil. The Oro festival often takes place before the Agemo festival in order to ensure that the communities are free of evil spirits leading up to the meeting of the Alagemos.
If Ijebu prefer,
They will weave it a bit…
A modern poem in praise of Efunsetan Aniwura, a Yoruba woman who rose to a position of great wealth and political power in Ibadan, Nigeria, during the mid-19th century. Composed by Teslim Opemipo Omipidan from Adekunle Ajasin University, Akungba-Akoko, Ondo State in Nigeria.
Elegbe, let us not toy with a raging fire
for if the thumb get burnt,
all fingers shall suffer…
A modern poem in the traditional manner of a praise for one’s clan, sent to us by Adjei Agyei-Baah. Here the history of the Ashanti people is celebrated with reference to the richness of their land, their gods, and their traditional rulers.
The edenic garden on a fertile land of gold
A poem sent to us by Adjei Agyei-Baah on the theme of the Ashanti royal house. The Ashanti people live within a wealthy, gold-rich region of Ghana. Otumfuo is an honourary title bestowed upon Ashanti rulers when they ascend the throne. The Ashanti Empire was officially established in 1701 by the Ashanti King Osei Tutu and his adviser and High Priest, Okomfo Anokye.
The Golden Stool (Ashanti-Twi: Sika ‘dwa) is the royal throne of the Ashanti king, and is also believed to house the spirit of the Ashanti nation. According to the legends of the oral tradition, the Golden Stool descended from heaven and into the lap of Okomfo Anokye when the Ashanti army defeated their rivals, the Denkyira, in 1701. The entire surface of the Golden Stool is inlaid with gold and hung with bells to warn the king of dangers.
In 1863 the British army attacked the Ashanti kingdom to take control of the Gold Coast. Six hundred troops massed on the border of the Ashanti kingdom during the dry season, but left it too late to launch their invasion. When the rain season began the troops rapidly came down with malaria and dysentery and eventually abandoned their supplies and retreated without a shot being fired. This led the then Ashanti King, Asantehene Kwaku Dua, to remark “The white man brings his cannon to the bush, but the bush is stronger than the cannon”.
He who knows not the Otumfuo
Let me present him…
Another in our series of Modern Poetry in the Oral Manner, this one about one of the most prominent Orisha, Sango, also known as Shango (see also In Praise of Shango) or Xango in Latin. The following poem not only addresses his encounter with the Owu people, now concentrated in Abeokuta, but also portrays Sango’s personality ranging from his birth, life and wives, to his controversial end.
Jakuta, son of Aganju,
Violent ruler, grandson of Oduduwa…
I have added this new section, provisionally called Modern Poetry in the oral manner, in response to readers visiting the site who have sent me their own written poems inspired by the material they have been reading here.
Modern African poetry draws on a multitude of traditions, including European and American. Some of the best, however, works very closely with oral styles and imagery, perpetuating what may best be called an oral aesthetic…
This is a modern poem by Aremu Adams Adebisi on the theme of the legend that surrounds the 12th century Yoruba princess, Moremi Ajasoro. Moremi was married to the Yoruba king Oranmiyan who ruled the kingdom of Ile-Ife. Ile-Ife had been at war with a neighbouring tribe for many years, who the Yoruba referred to as ‘the Forest people’ (Ìgbò in the Yoruba language, though the said tribe is believed by scholars to have had no relation to the contemporary Ìgbòs of modern Nigeria)…
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