The first question would always be, “what is Oríkì?” And to tell the truth; it lacks definition.
In 1981 Ìrèmọ̀jẹ́ Ère Ìṣípa Ọdẹ book by Bádé Ájùwọ̀n, he wrote “Oríkì are the praises of Yorùbá forebearings from the time of Odùduwà. It is a collection of short otherwise known names (or nickname) of Yorùbá forefathers in their lifetimes. These Oríkì are full of stories, attitudes, physical traits, taboos, culture and religions of those that found Yorùbá. This means there’s no Yorùbá person without Oríkì. A person is praised, as related to his ancestry to recount his forebearings’ vocations or something worthwhile about the ancestry he/she comes from. Some could be warriors, some could be of some cognizance engagement like sculpture and so on.” (translation mine).
What the word Oríkì lacks in definition, it gains in explanation. Oríkì is Yorùbá oral praise that traces ancestors, histories, works/vocations, extraordinary deeds and related issues. It recited how an individual’s forebears had done something at a time and the result.
As it not the same as Ìjàla Ọdẹ (hunters’ poetry), Ẹkun Ìyàwó (Bridal poetry), Ìyẹrẹ Ifá (Ifá Priests’ poetry), Rárá, Ìrèmọ̀jẹ́ (poetry recited at the demise of an hunter) and the likes. Nobody has ever confused these other oral poetry to Oríkì as they differ in tone, situational and vocational used.
And apart from Ìyẹrẹ Ifá, all other oral poetry has Oríkì embedded in it. How do I mean? In Ìjàla Ọdẹ, an hunter explains his experiences during hunting expenditures; they do this as a form of motivation, to remind themselves of good and bad days and in Ẹkun Ìyàwó when the bride is done using poetry to bade her parents bge while weeping, both (i.e the hunter and the bride) would still complement their poetries with Oríkì.
TAANI AKÉWÌ (WHO ARE POETS)
Akéwì are professional poets. They are people who are very versed in Oríkì and histories. Most times there are families in a town whose generational vocation is chant.
However, they should not be confused as Arọkin who are palace historians. Àrọkin don’t go anywhere else but palace. They live their lives, breed their children and die in the palace. Their lifetimes expenses are bore by the king.
Akéwì on the other hand are not stationed in a place. They can visit some rich people in their own to praise them and get clothes and or money as rewards. They can also be seen during special occasions, at palm wine joints etc, praising people’s lineage and get rewards.
Sometimes someone somewhere could develop interest in Ewì and put himself under a poet’s tutelage. He would spend a considerable amount of time/years (mostly agreed upon) with his masters.
Some other times till when his master feels he has mastered the art. Example of this in the book, Eégún Alárè (1972) by Lawuyi Ogunniran.
During his time of tutelage, he would follow his master during his outings (minor or major) and be the one who would do what I call “introductory referral”.
What is Introductory Referral? Anyone listen to Chief Arẹmu Ayilara Àjòbièwe (Gbọbaniyi of Ila Ọ̀ràngun, Ọṣùn State) would understand this. There’s always the same woman who would tell Chief Àjòbièwe what is next on their Oríkì line to praise.
Let me do the explanation for those who are not conversant with it or don’t notice: if there are five people of different ancestry to praise, for instance Ìran Ẹlẹrin, Irese, Ìjẹ̀bú, Ìjẹ̀sà and Ìrèmogun. It would be the duty of this student to first start by reciting these people’s Oríkì (short and precise) before calling on his master to do befitting justice.
Examples of Introductory Referrals are:
1. Óò wá bá mi de ìhà ibikan, nílé Òpómúlérò Mọja’lékan (Won’t you follow me to the house of Òpómúlérò Mọja’lékan)?
2. Àjòbièwe, óò sì na mi lọrun orin (Àjòbièwe, why not relief me of this poetical/musical burden)?
In Introductory Referral, apprehentices are allowed to give the next Oríkì to chant/intending Oríkì but NOT ALL HE KNOWS. It is his master’s responsibility to do that, if the student does; he would be hold in contempt for stealing shows from his own master.
Furthermore, Introductory Referrals are given during Poetic Challenge. In the book Eégún Alárè both Dúdúyẹmi and Ọ̀jẹ́lade are giving themselves referrals into some Oríkì, histories and all. What are the taboos of Irẹ̀sa, who was the first to wear the mosquerade regalia (eeku eégún), where do the Yorùbá come from, etc.
Well, student-master Introductory can be called ‘friendly’, opposite can be said for the latter.
Poets are geniuses. They know so much Oríkì offhand. and they don’t miss them up. That is genuinely genius. I must admit.
Truly, nobody can know all the oríkì that are related to ancestries, especially sub-ancestry. Major ancestries are Ifẹ, Ọ̀yọ́, Ìjẹ̀sà, Ìjẹ̀bú, Èkìtì, Ìgbómìnà, Òwu, Awori, Ẹ̀gbá, Olú Òjé, Olufọn etc. They have distinct Oríkì, you don’t have to add to it.
However, sub-ancestry as Ayibiowu, Ifẹtẹdo, Ifẹwàrà, Yéwá, Ẹ̀gbádo, Iloko-Ìjẹ̀sà, Ìjèbú-Jẹ̀ṣà, Ọlọfa, Aagbèri, Ogbin, etc seem to have additions every day.
These false lines of Oríkì can be majorly detected by taking cursory note of what is afterwards recited and how. Example is praising ÌRAN OPOMULERO with Ìjàkadì, a totem of ÌRAN ỌLỌFA, or praising ÈKÌTÌ as princes without tribal mark (ọmọ ọba tí ó nikọla, onisọbọrọ nii wù mí, ibi dandan kó má bá alabẹ), these lines belong to ÌRAN OLÚFẸ̀!
(c) Jimoh Taofik Adekunle, also know as Jimson Jaat Taofik is a Student of Ancient and Modern Histories, Trained Journalist, Author, Blogger, Litterateur, Printrovert, Editor and Bibliophile.
He can be reached via:
Facebook: Jimoh Taofik Adekunle/ Jimson Jaat Taofik
Twitter: @jimsonjaat01
Gmail: deskofinsanity96@gmail.com
Phone: 08144510532
10th of October, 2021
