Escolar Documentos
Profissional Documentos
Cultura Documentos
INCANTATORY POETRY
ORILOYE, S. A.
Department of Music, College of Education
Ikere Ekiti, Ekiti State, Nigeria
ABSTRACT
The use of incantations to achieve particular results is
not peculiar to creed, climate or colour. It is a universal
Phenomenon. Since the exponents and practitioners of
incantations are often held in contempt. Scholars tend to
shy away from investigating it, though it is a rich genre
of Yoruba Oral literature. That its exponents are dying
out without adequate replacement makes the challenge
to investigate, collect and document this genre an urgent
one. This study is one of the pioneer efforts, sets out to
examine specimen incantations to highlight the
folkthough that underlies the composition of incantations
and the validity of the premises on which the constituent
lexical items are based. This is in addition to attempts at
defining it and establishing its universality. A literary study
of this neglected genre has revealed that most
incantations are constructed on the results of
observations, experiments and logical reasoning.
Key words: Incantation, Universality, Genre, Novice,
Heathen, Heathenish, Efficacious.
Journal
of
Communication
and
Culture
Vol.1,
No.1/2
32
INTRODUCTION
Scholars have written a lot on the various genre or Yoruba
Poetic forms. But the area of incantation has been deliberately
neglected. This is perhaps because incantations and their
verbalizations are considered esoteric and weird and are therefore
treated with contempt. While Scholars are reluctant to research into
this art from those who know and perform it would not let a person
who does not belong to a particular group or whoever is not
knowledgeable in a particular art, vocation or practice (Novice) into
their secret world for fear of letting the cat of the bag. Since they
regard it as a major source of strength to be guarded jealously, they
too are reluctant to share the secret with others.
Scholars deliberately avoid this area of study for fear of being
misunderstood and subsequently branded heathenish. Thus, this area
of rich Yoruba oral poetry continues to suffer neglect. Yet, it is in
grave danger of extinction since its practitioners are dying out
without adequate replacement. Incantatory poetry is discovered to
be built on literary devices such as logic, contrast, word play,
correspondence, contrast and others which give its beauty as a
literary genre worthy of Scholarly investigations.
Most dictionaries consultors seem to agree in construing
incantation as a magic word this implies the use of particular set
of words to enforce the performers desire to bring about certain
result. Collins Dictionary of English Language defines incantation
as a magic word. And according to Good Level Dictionary of
English Language, an incantation is, the art of using certain words
and ceremonies to raise spirits. The forms of words so used a magic
charm or ceremony.
For the purpose of this study, an incantation shall be
constructed as a set of words or statements, based on folkthoughts
and used to achieve particular results which are beyond the ordinary.
Incantation is not a religion. Whereas religion is concerned among
Journal
of
Communication
and
Culture
Vol.1,
No.1/2
33
of
Communication
and
Culture
Vol.1,
No.1/2
34
of
Communication
and
Culture
Vol.1,
No.1/2
35
Journal
of
Communication
and
Culture
Vol.1,
No.1/2
36
of
Communication
and
Culture
Vol.1,
No.1/2
37
of
Communication
and
Culture
Vol.1,
No.1/2
38
the premise that since ogbo would hear or obey whatever it is told
and ogba would accept whatever it is told, then the addressee is
expected to comply, without questioning, whatever he is told as
emphasized by line 2 and 4 of the poem.
Features of Yoruba incantation poems
Whether ofo, ayafo or ogede it has been discovered that
Yoruba incantatory poems are not regular in the number if lines or
syllables. Also the number of precepts or statements to be cited is
not fixed. This largely depends upon the knowledge and expertise
of the user. A user might therefore cite more than one precept in a
bid to achieve his objective. Precepts are usually drawn from the
mythical history of the people.
On the other hand, the contents of ofo and ogede are based
on the immutable laws of Nature as well as some other literary
devices. These are therefore verifiable and empirical in most cases.
For instance, the following are cited:
4)
Omi kii san
Ko boju weyin.
Water never flows (and)
Look back
5)
Ojo ta ba be takun
Lewe re n ro.
The day (the stem of) a climber is cut
Is when its leaves wither.
Whether long or short, incantations are always in single
stanzas. This is because an incantation is designed to achieve only
one objective at a time. This makes it functional for only one objective
at a time. This makes it functional for only one episode at a time;
though it can still be used for identical purposes at later date. Every
incantation is a complete thought, unique and independent of the
others. However, this does not prejudice the appearance of one or
more lexical items from one incantation in some others. The view
of Bamigbose (1982) is informative in this respect.
Journal
of
Communication
and
Culture
Vol.1,
No.1/2
39
Journal
of
Communication
and
Culture
Vol.1,
No.1/2
40
of
Communication
and
Culture
Vol.1,
No.1/2
41
of
Communication
and
Culture
Vol.1,
No.1/2
42
Journal
of
Communication
and
Culture
Vol.1,
No.1/2
43
REFERENCES
Abimbola, W. (1982). Note on the collection, transcription,
translation and analysis of Yoruba (Oral) literature.
In Adebisi Afolayan (ed) Yoruba language and literature.
Ibadan: University Press Ltd. and University of Ife Press.
Bamgbose, A. (1982). Lexical matching in Yoruba poetry. In
Adebisi Afolayan (ed) Yoruba language and literature.
Ibadan: University Press Ltd. and University of Ife Press.
Bascom, W. (1964). Continuity and change in culture. Evanston:
Northwestern University Press.
Collins Dictionary of the English Language (1968).
Good Level Dictionary of the English Language (1974).
Idowu, E. B. (1962). Olodumare: God in Yoruba belief. London:
Heinemann Educational Books Ltd.
Oriloye, S. A. (2007a). The problems of Actress and meaning
in Juju music. International Journal of Language
and Communication Vol. 1 (1& 2): 96-115.
Oriloye, S. A. (2008b). Music as a catalyst in the process of
spirit possession. Journal of Arts and Humanities
International Research and Development Institute.
Oriloye, S. A. (2008c). The Effective Powers of Praise-names and
Incantations. (Unpublished Manuscript).
Olatunji, O. (1982). Classification of Yoruba oral poetry.
In Afolayan, A. (ed) Yoruba language and literature. Ibadan:
University Press Ltd. and University of Ife Press.
Vernon, G. M. (1962). Sociology of religion. New York: McGrawHill Book Company.
Journal
of
Communication
and
Culture
Vol.1,
No.1/2
44