Ayo Adeduntan
Biographic Data
| ID | 285720 |
|---|---|
| NAME | Ayo Adeduntan |
| GIVEN NAMES | Ayo |
| FAMILY NAME | Adeduntan |
| SIGNATURE | ADEDUNTAN A |
| AFFILIATIONS | University of Ibadan |
| VERIFIED | No |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 6 |
| AUTHOR COUNT | 7 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Performative agency and transition in Àlàbí Ògúndépò's ìjálá and Yẹmí Ẹlẹ́buìbọn's Ifá chants
Indigenous Yorùbá poetry is often defined by such features as context, structure, tonal quality and the performer's identity. Early taxonomy of the poetry focused on the poetics that could be deduced from a long tradition of practice. Recent scholarship in literary and cultural studies has been more interested in showing the ways in which the poetry is being inflected by encounters with postcolonial modernity. While these recent contributions dem…
Fracture and suture
The imaginative contiguity of Wole Soyinka to D.O. Fágúnwà goes beyond the former being a foremost translator of the latter. They are united by a vision that grants consciousness and agency to the non-human. Using Fágúnwà’s Ògbójú Ọdẹ nínú Igbó Irúnmọlẹ̀ and Wole Soyinka’s A Dance of the Forests, this paper reflects on the authors’ engagement with the relation between humans and the wild, and the tension created from the encounter. Primarily, Fág…
Digitising an African Studies Audiovisual Archive
As a subset of the well-known increasing subordination of the humanities in the academy, there have always been recurrent attempts to territorially contain the discipline of African Studies on the continent. The attempts at containment are sometimes informed by factors that include concerns about contiguous disciplines within the same institution and the formal identification of African Studies with institutes which signs difference to orthodox u…
Road Called Vagina
Studies have shown that Nigerian films, like literary works before them, are complicit in the prescription of hegemonic cultural citizenship. One particular dimension of such prescription is the stereotype that defines how to be a woman and delegitimates gender heterodoxy. The films of Túndé Kèlání, a male Nigerian auteur, constitute an alternative to this androcentric mainstream. Adopting a womanist interpretation, this article examines the coun…
Truth, Nothing but the Performative Truth
Both colonialism and cultural imperialism have impacted considerably on broadcast media in Africa. News broadcast in indigenous language in Nigeria especially has been attuned to reproduce the Anglo-American model that polarizes “seriousness” and “objectivity/truth,” on the one hand, and entertainment and the performative, on the other; the former is then valuated above the latter. One noticeable result of this dominant trend is a news broadcast …
Mouth with Which the King Curses
The enemy is a recurrent subject in many African musical forms. Abuse is a major means through which the idea of the enemy is conceptualized. Using the jùjú music of King Sunny Ade of Nigeria and the reaction of his audience and rival musicians as an example, this article shows that the conceptualization of the enemy is denied specificity through the musical artist’s choice and deployment of referential codes. One result of this is that the perfo…
Yoruba Hunter and the “Sin” of Narrative Performance
Focusing on the stories of Yoruba hunters' exploits, this work examines the immanence of narrativity even in cultural sites that value silence about particular practices. This presumed silence is especially highlighted in the case of the hunters because of the cultural and professional ethic that forbids them to tell their stories at home. Yoruba hunters' stories are told today and have even emerged as entertainment series on radio and television…
Road Called Vagina
Studies have shown that Nigerian films, like literary works before them, are complicit in the prescription of hegemonic cultural citizenship. One particular dimension of such prescription is the stereotype that defines how to be a woman and delegitimates gender heterodoxy. The films of Túndé Kèlání, a male Nigerian auteur, constitute an alternative to this androcentric mainstream. Adopting a womanist interpretation, this article examines the coun…
Performative agency and transition in Àlàbí Ògúndépò's ìjálá and Yẹmí Ẹlẹ́buìbọn's Ifá chants
Indigenous Yorùbá poetry is often defined by such features as context, structure, tonal quality and the performer's identity. Early taxonomy of the poetry focused on the poetics that could be deduced from a long tradition of practice. Recent scholarship in literary and cultural studies has been more interested in showing the ways in which the poetry is being inflected by encounters with postcolonial modernity. While these recent contributions dem…
Truth, Nothing but the Performative Truth
Both colonialism and cultural imperialism have impacted considerably on broadcast media in Africa. News broadcast in indigenous language in Nigeria especially has been attuned to reproduce the Anglo-American model that polarizes “seriousness” and “objectivity/truth,” on the one hand, and entertainment and the performative, on the other; the former is then valuated above the latter. One noticeable result of this dominant trend is a news broadcast …
Mouth with Which the King Curses
The enemy is a recurrent subject in many African musical forms. Abuse is a major means through which the idea of the enemy is conceptualized. Using the jùjú music of King Sunny Ade of Nigeria and the reaction of his audience and rival musicians as an example, this article shows that the conceptualization of the enemy is denied specificity through the musical artist’s choice and deployment of referential codes. One result of this is that the perfo…
Yoruba Hunter and the “Sin” of Narrative Performance
Focusing on the stories of Yoruba hunters' exploits, this work examines the immanence of narrativity even in cultural sites that value silence about particular practices. This presumed silence is especially highlighted in the case of the hunters because of the cultural and professional ethic that forbids them to tell their stories at home. Yoruba hunters' stories are told today and have even emerged as entertainment series on radio and television…
Mouth with Which the King Curses
The enemy is a recurrent subject in many African musical forms. Abuse is a major means through which the idea of the enemy is conceptualized. Using the jùjú music of King Sunny Ade of Nigeria and the reaction of his audience and rival musicians as an example, this article shows that the conceptualization of the enemy is denied specificity through the musical artist’s choice and deployment of referential codes. One result of this is that the perfo…
Truth, Nothing but the Performative Truth
Both colonialism and cultural imperialism have impacted considerably on broadcast media in Africa. News broadcast in indigenous language in Nigeria especially has been attuned to reproduce the Anglo-American model that polarizes “seriousness” and “objectivity/truth,” on the one hand, and entertainment and the performative, on the other; the former is then valuated above the latter. One noticeable result of this dominant trend is a news broadcast …
Road Called Vagina
Studies have shown that Nigerian films, like literary works before them, are complicit in the prescription of hegemonic cultural citizenship. One particular dimension of such prescription is the stereotype that defines how to be a woman and delegitimates gender heterodoxy. The films of Túndé Kèlání, a male Nigerian auteur, constitute an alternative to this androcentric mainstream. Adopting a womanist interpretation, this article examines the coun…
Digitising an African Studies Audiovisual Archive
As a subset of the well-known increasing subordination of the humanities in the academy, there have always been recurrent attempts to territorially contain the discipline of African Studies on the continent. The attempts at containment are sometimes informed by factors that include concerns about contiguous disciplines within the same institution and the formal identification of African Studies with institutes which signs difference to orthodox u…
Fracture and suture
The imaginative contiguity of Wole Soyinka to D.O. Fágúnwà goes beyond the former being a foremost translator of the latter. They are united by a vision that grants consciousness and agency to the non-human. Using Fágúnwà’s Ògbójú Ọdẹ nínú Igbó Irúnmọlẹ̀ and Wole Soyinka’s A Dance of the Forests, this paper reflects on the authors’ engagement with the relation between humans and the wild, and the tension created from the encounter. Primarily, Fág…
Performative agency and transition in Àlàbí Ògúndépò's ìjálá and Yẹmí Ẹlẹ́buìbọn's Ifá chants
Indigenous Yorùbá poetry is often defined by such features as context, structure, tonal quality and the performer's identity. Early taxonomy of the poetry focused on the poetics that could be deduced from a long tradition of practice. Recent scholarship in literary and cultural studies has been more interested in showing the ways in which the poetry is being inflected by encounters with postcolonial modernity. While these recent contributions dem…
Sociology (7 works) · Art (5 works) · Aesthetics (4 works) · Philosophy (4 works) · Philosophy (4 works) · African history and culture studies (3 works) · Gender Studies (3 works) · History (3 works) · Linguistics (3 works) · Media studies (3 works)