A Yoruba song, partly satirical, partly pragmatic. Sourced from the Black Orpheus magazine that was founded by Ulli Beier in 1957 and co-edited by Wole Soyinka and Es’kia Mphahlele.
My wife told me
I go to the market…
Three Yoruba songs, sung by women supporters of the two parties in the Federal elections of 1959 in western Nigeria. The main contenders were the National Council for Nigeria and the Cameroons (N.C.N.C.), the ruling party whose symbol was the Palm Tree, and the Action Group, whose symbol was a cockerel.
The first song is by the Action Group women who claim the N.C.N.C. belongs, like its symbol, in the bush, along with lepers.
The palm tree grows in the far bush:
Nobody allows the leper to build his house in the town:
The palm tree grows in the far bush…
This is another Yoruba Ijala (hunting poem) that was first translated into English in Ulli Beier’s Black Orpheus magazine. Ulli Beier was a German-Jewish scholar who moved to Nigeria in 1950 to teach Phonetics at the University of Ibadan. In 1957 he founded the magazine Black Orpheus, the name inspired by “Orphée Noir”, an essay that he had read by the French intellectual Jean-Paul Sartre. Black Orpheus was the first African literary journal in English, publishing contemporary authors such as Wole Soyinka and Chinua Achebe as well as oral poetry from Nigeria. This Yoruba ìjalá poem appeared in issue 19 of Black Orpheus.
You cannot dispute the forest with a rat.
You cannot dispute the savannah with the buffalo…
The Yoruba believe in Atunwa, reincarnation within the family. Yoruba funeral songs such as Slowly the Muddy Pool Becomes a River and Where are You Now? incorporate the symbolism of loved ones returning in other forms. This poem is a grief-stricken Yoruba prayer, inviting a dead child to be born again.
Death catches the hunter with pain.
Eshu catches the herbalist in a sack…
A thrift-club, known in Yoruba as Esusu, is a voluntary society which helps its members to raise money. Every member pays a fixed sum of money regularly at a fixed time (say every fifth or ninth day). One of the subscribing members will take the total amount subscribed for his personal use. The next subscription will be taken by another member, continuing in rotation until every member has taken. As an early form of banking, it played a part in the rise of businesses owned by former slaves in the United States.
This ìjalá, or set of praises, is spoken by the chairmen to encourage and compliment the members.
All you persons of prestige here gathered together,
I greet the woodcock with its characteristic ‘mese’ cry…
Another Yoruba funeral song from Nigeria. (See also the poem ‘Slowly the Muddy Pool Becomes a River’). In ‘Slowly the Muddy Pool becomes a River’, the bereaved son appealed to a hunter not to kill the kob antelope encountered on the way to the farm, but to ‘let the dead depart in peace’. Here, the poet accepts that though the dead may be reincarnated in different form, life has to continue as normal. The dead ‘cannot receive double punishment’.
The hunter dies
and leaves his poverty to his gun…
Another set of praises (Oriki) for the Orisha Ogun. Ogun is one of the most popular Orisha, both in Nigeria and across the Caribbean and the Americas. Known as the god of hunting, iron and warfare Ogun is both a violent destroyer and a heroic leader who delivers strength and justice to society. (See also poems for Ogun, God of War 1 & 2)
Now I will chant a salute to my Ogun:
O Belligerent One, you are not cruel…