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Ijele: Art eJournal of the African World (2002) ISSN: 1525-447X The Importance of Oriki in Yoruba Mural Art

Stephen Folrnm

Abstract
In visual art, inspiration and concept are the driving forces in the execution of a particular art piece, be it in the Fine or industrial Art. Yorb traditional mural has been executed in most cases in veneration of the rs and most of the products are for the Oba as well as for rich or influential individuals. Despite the painters claim to have been moved or inspired by the spiritual powers of the rs in the execution of such murals, Ork, cognomen has been discovered to be a very important driving force in these paintings. This paper tries to examine the importance and impact of ork in the execution and interpretation of selected Yorb traditional murals.

Introduction
The various studies on Yorb traditional mural are very revealing and most, if not all Yorb traditional murals and shrine paintings have been documented. This gives us sufficient data for further analysis and investigation. Although the genesis of research into Yorb wall paintings is traceable to Ulli Beier,1 who in 1960 carried out a brief study and documentation of about ten shrine painting and other paintings in Yorbland and Diaspora. Murals such as rspopo in gbms. Obtl in ll. Irele in krun. Oya in Jbb. Sng in Pobe-Dahomey, and private house in Gbngn and Ilara were all executed in locally procured materials. Moy kdji, and Blj Campbell have both presented a better understanding of the art of shrine painting. Particularly revealing is kdjis rskire painting school in Il-If.2 On a general survey, the paintings are specifically done in the veneration of the rs, while the materials used are much the same everywhere.

kdji opined that the abundance of clay and soil materials and the simplicity of Yorb colour sensibility, which is polychromal in nature, explain the preponderance of the tradition of mural painting in Yorbland. All shades of browns and ochres, are derived from clay and soil materials, while reddish-pupa are derived from vegetable materials such as Ibje leaves (randia maculata) jkn leaves (mucuna solenei), and osn- cam wood. l leaves gives indigo, while pure black-dd is sourced from charcoal. White- funfun is obtained by heating eggshell to a certain temperature and grinding it into fine powder; it is also derived from kaolin and chalk.3 To bind these materials together so that they adhere to the wall surface, congealed pap (ko tutu) is made into paste and added to the prepared pigments. It is noteworthy to mention that procurement and preparation of these pigments are laborious and tedious. In recent times some changes have been witnessed in the execution of these paintings. Studies by Campbell4 reveals that modern paints such as enamel and emulsion paints have been introduced to the art of mural painting in Yorbland. The gbni painting in Ils is one of such paintings. The result of these studies into traditional Yorb murals is its successful introduction and fusion into contemporary modern painting, which finds its development in the birth of On group of artist from the If art school. Dance Drama is an example of such paintings executed purely with the locally procured materials (fig. 1). Efforts have been made to interpret numerous symbolic images on these paintings. The interpretation has been achieved by probing through rich Yorb cultural values, religion, myths, tales, folklore and oral tradition. These have eventually helped to broaden our knowledge about these murals and their significance. Shrine painters over the years have claimed to have been moved or inspired by the rs in the painting of shrine walls. Some, on the other hand, say that during the annual festivals they only touch up what had initially been painted on the walls but which in the course of time had faded due to exposure to the elements. Totally disregarding the spiritual basis of painters inspiration may not be wise because we have not experienced it personally. However, notwithstanding our lack of spiritual experience, we are still able to undertake iconographic analyses of these murals. Recent studies have revealed that some of the concepts and images represented on the murals are derived from the ork (cognomen) of the rs or Oba. Ork is an attributive name, expressing what the child is, or what he or she hopes to become, an endearment or praise intended to have a stimulating effect on the individual.5 This can also be said of a Yorb rs. This essay, therefore, seeks to explore the cognomen (ork) of selected Yorb rs and Obas on whose walls such paintings have been executed. The influence and impact of ork in the execution of such murals will also shed more light on the significance of these murals in Yorb art and culture.

Ork
Ork forms the basis of formal praise poetry. These are most often given to people, but may also describe class, animals or inanimate objects, and they are usually laudatory.6 Although not very common today among the educated Yorb elite, it used to be a dayto-day form of showering praises on children by their parents when they greet them in the morning. I did enjoy such endearment from my grandfather while he lived. Ork (cognomen) are permanent titles held by individuals, some of whom have several of these names so that a collection of them recited together resemble loosely constructed poem about the person praised.7 Various scholars (Johnson, S.1976: Karin Barber, Olatunji, O, 1984) have identified several forms of ork. There is ork sk - one word ork, as in kn, bn, j, rm, and so on. There are also ork of lineages, towns and places, chiefs and kings, divinities, plants and animals.8 These later ork are often descriptive, for example:j kr, Algada ogun j s nl, omo ade dgb j w nl omo ade k k kan j n w ld Gbogbo omoge yo wse j kr, algada of war In the absence of j, chicks grow to maturity when j is at home, chicks are devoured while j takes his bath at the river, all young ladies come with soap. The discipline and characteristic role of ork evokes the feeling of well-being in the subject as he or she has a comprehensive citation being presented about him or her.9 This you experience when you visit most, if not all Yorb palaces. It is the duty of the court drummers and akw at the y palace to wake the Alfin with such praises every day. The same applies to chiefs and notable personalities whenever they visit the palace. Ork is spoken, chanted, or sung (and in the context of this essay, painted) depending on the situation of performance.10 They contain expression, which praise and characterize

its subjects. Such expressions and characteristics of the subject being praise are fully experienced on the images and forms realistically displayed on the y palace mural.

Ork in y Palace Mural


The y palace mural as we shall find out, reveals a vivid example of the influence and significance of ork in Yorb mural decoration. This painting, commissioned in 1933 by late Alfin Siyanbl Ldigbl, known for his love of creativity and flamboyant nature is richly decorated with numerous human, animals and inanimate royal objects. Ruth Finnegan was right when she wrote that the most frequent subjects for panegyrics are human, especially kings and chiefs, and that praises of kings are most formal and public of all.11 In addition Blnl Aw mentioned the focus of ork on deified heroes and kings, gn, rnmyn, Obkun and others were not only commended and praised for their valour and bravery but also for their protection. In summary, their ork describe their hierarchy and function in warfare.12 Ork also play a very important role in self aggrandisement and glorification in the society, they were the main instruments through which reputation was publicly acknowledged and enhanced, here, Karin Barber13 says the big man is on display. In a public gathering, ork singers would address those they perceive as the most important, the most successful individuals would have the largest corpus of ork. Both the mystical and material attribute with which the Oba is endowed sets him apart from the rest of the population. Next to him are the chiefs. Salami Alabebe who painted this palace mural displayed a high sense of knowledge when it comes to his to peoples culture. There is no doubt that he dug deep into the different ork and other praises showered on the Alfin. When Alfin Siyanbl Ldigbl wanted to be sure that the painting being commissioned had not been done anywhere else in the whole Yorb country, he was only living true to one of the common ork of the y people. The ork that bears this out is: Aj se b y lr, y k se bi en kokan People wake to comport themselves like the y, but the y never behave like anybody else. The application of this ork and its influence in the execution of the painting can best be appreciated today when it is certain that not all Yorb palaces can claim to have such murals on their walls talk less of comparing their murals with the y mural14 The y palace mural is also described as one of the most spectacular of all traditional murals in Yorbland.15

This painting chronicles the attribute of the Alfin. Most of the animals depicted were actually kept in the palace by the Oba. (elephant, leopard, horse, tortoise, chameleon, ostrich, egret, hare and others). All the images depicted show clarity of form and are realistically rendered.16 Other images were chosen to enhance and promote the position of the Oba. Scenes like attendants and visitors prostrating before the Oba and attendants holding silken parasol over the Oba are depicted (fig. 2). Apart from the clarity of form and images represented on this painting, some of the images depicted are frequently mentioned in some ork of the Alfin. In these various praise songs, the Oba is sometime compared with very strong animals, which are associated with leadership, authority and power. Some of these animals have cognomen attributed to them. It has been affirmed that ork can be concerned with almost anything - animals, birds ... make apostrophized in high-sounding terms.17 Some of the ork assert: jnk k ni kn, Oba t y m erin so k t j e The elephant has no post to which it is tethered; the king that will tether the elephant has not been crowned. This thus shows the great power of the Alfin over other Obas, more so when he is described as: Alse igb kej rs One with authority next only to the gods. The elephant is often praised in some ork (praise names) as: Erin onb ow Algbl kun Elephant owner of abundant wealth and a courtyard of sea.

These praises summarily symbolize the wealth of the Alfin on the mural. In another ork the elephant is described in relation to the Oba, Erin gb n igb yan bi ba Elephant the jungle dweller who walks majestically like a king. Other ork describe, erin as:jnk, kan soso rb t mi igb kjikji elephant, the only gigantic one like rb tree who shakes the forest violently. This in reference to the Alfin shows him as the all powerful amongst the other Obas. The antelope (egbin) is also depicted tethered like the elephant. The antelope is known for its long horns which symbolises se, (life force) because it is the traditional container for se a kind of medicine which make wishes and utterances to materialize. se as a word, means authority.18 The antelope can also be said to be a symbol of beauty as it is evident in its ork19 (Fig. 3:). The ork reveals the descriptive beauty of the antelope as an animal that: Uses velvet leather as bed sheetbeauty of the forest animal with shining fur fwo rn seaso tsn dra nj, ranko abara yy. it is also described in another ork as:Very beautiful antelope, its rival does not exist in the forest Egbin dra tti, elegn egbin k s ngb In relation to the Alfin Siyanbl Ldigbl at whose instance the mural was executed, there is no such beautiful palace, mural or even king as the Alfin. He is the embodiment of beauty. For this reason, the ostrich (gng) icon is the most prominent

of the images on the mural. gng is associated with leadership, the following ork describes: gng baba eye gng, king of birds. When chanting songs or praise names of the Alfin, his wives always refer to him as gng baba eye meaning he, the Alfin, is the king of kings in Yorubaland20 (Fig. 4: Alaafin and wives). Another significant image in the mural is the figure with a bow and arrow. This I have identified to either be a warrior or hunter. Both professions are very important to Alfin Ldigbl and all other Alfins before him. Hunters and warriors were very useful to the kings in carrying out their numerous Calvary and assaults in their bid to gain supremacy over other territories. This is no longer so in modern times where such exalted positions have been taken over by state military personnel. The hunter could probably represent those who killed wild animals for the Oba, or his warriors. In Awon Ork Orle by Adby Babalol, he mentioned, the progenitors of Ol-j who were brave elephant hunters using spears, bows and arrows. They killed elephants for the queen in y Il. He also goes on to mention the relationship between hunting and warfare. The Onikys weapons were said to include bows and arrows and so Onkys are praised in an oriki as:won omo onle olf ta f m ts olf mm, olf or t pa egbrin nyn

Owner of the land of arrows; sharp shooters, shooter of sharp arrows, poisoned arrows with which he killed 800 people.21 Distinct from the ork of the animals are the direct ork of the Alfin. These are known as ork orl. Ork orl, totem denotes foundation or origin.22 It is however not a name in that it represent every conceivable object such as, erin, (elephant) gn (the god of iron and war) p (post) gb (a ram), kn (peacock) and many others. In orl, the lineage of the Alfin is revealed, making the representation of the images on the murals much more meaningful. In relationship to the interpretation of the images on the y Palace mural, the ork and orl becomes relevant. For example, erin (elephant) is the totem of the original line of kings.23 Because orl, (totem) is never used by itself, as it would be meaningless, it is always expressed along with ork when endearment or admiration is intended.24 Alfin Siyanbl Ldigbl knb Erin and Alfin Olywol Adyem III. tnd Erin both share the same totem of the original line of the y kings. Erin, the elephant being mentioned here again as it has been interpreted on the mural. In some lines of various versions of ork chanted by Mrs. Afolb, an akw, and a descendant of a family well versed in the in ork of the Alfin of y, some of the images depicted on the palace mural were mentioned.25 A testimony of this is narrated in lines such asB wo d, ariwo esin esin B gk od, eruku esin fes esin somi rk rk rk Oba abor esin bb lon kso brn esin tk tk lona br When he enters the river, its the noise of horses When he comes out, the horse raises dust He stirs up the river with the horses hoofs He, strides reluctantly like a horse towards br

In the above lines of ork, esin (horse) seems to be the point of reference. Therefore, the representation of the horse on the mural is justified. (Fig. 5: Horse) In another line, the ostrich was mentioned, Ode gng t rn tomi tomi. ostrich hunter, who walks with water). In another line, the Alfin is praised poetically in which the sword is mentioned as: yin lomo sr gbooro gbd gbooro k r gbooro tn id gbooro wk You are of the descendants of those, who speak words of volume. who hang the long sword; long sword too long for the sheath. The sword depicted on the mural may be the one mentioned in this line of ork (Fig. 7a & 7b: The real sword and its representation on the mural). Ork is especially set to record the events of an individuals life in most favorable and glorious light and to exalt and glorify him or her. Yngb chant is one of the important varieties of ork that is reserved only for the noble people of y in person of the king, (Alfin) his son, rmo and the senior brother of the king. (Baba yaji) Although mention can be made of other individuals in the course of their citations, The Yngb chant by the Akinyngbs is particularly to document all the major activities that happened during the reign of each of the Alfin.26 One of such historical events was during the reign of Alfin Ldigbl who commissioned the palace mural. The Akinyungba documented the close friendship

between Siyanbl Ldigbl and Captain Ross; after all, Captain Ross had been instrumental in the installation of Ldigbl as Alfin after his fathers death. Of course, Ross accomplished this with the help of the yms. This event marked one of the socio-cultural changes being witnessed by the Yorb people at the arrival of the colonial masters. The colonialists desired to have a hand in most of what happened around them. It was such influence that brought a constitutional change in the system of succession to the monarchy in Oyo, in which the crown prince no longer commits suicide at the death of his father, but stands the chance of succeeding him. This was a means by which the colonial masters introduced their infamous direct rule system.27 The eventual result was the gradual erosion and usurping of the Obas powers. In the chant the Akinyngb said. Ldgbl knb Adgbyga, pekun Oba Afnj oba t pb rns Adegboyega Akanbi lawo Rosi (Ross) Ladigbolu Akanbi Adegboyega, the greatest of kings A fashionable king that sends a white man on errand Adegboyega Akanbi is Ross confidant.28 It will be true to assert that the significance of the ork is much more revealed in the execution and interpretation of the y mural. The reason for this may not be far fetched. The Alfin being human lived and dined with the people unlike most of the deities who are mythically known. It was therefore easy to ascribe or attribute so much praise to him. From these ork and other sources, the Salami Alabebe drew his subject and inspiration. As earlier mentioned, the ork became the driving force by which the artist executed his masterpiece.

Influence of Ork on Pp Shrine Painting

Another painting, which has a considerable influence of ork, is the rs Pp painting in gbmsh. rs Pp is the name by which Obtl is known in gbmsh. As a deity his praises are daily expressed by the devotees. Many Yorb deities have a series of praises expressed in figurative and obscure language, sung by the priests. When the rs is to be worshipped or praised, its praise songs are played or recited one after another until it takes possession of one of its worshippers29 , this statement seems to confirm the claim of the painters that they are inspired by the rs in executing the painting. However, we can positively say that various praise songs and chants are the real inspiration in the execution of the painting. The use of colour, images, and forms are all embedded in the ork of some of the deities. In 1960, Ulli Beier described this painting as one of the most beautiful shrine paintings in Yorbland; a recent photograph (1995) taken however betrays this statement (Fig. 7: Pp mural). The deterioration of the painting and the skill shows the decline in the artistic decoration of the shrine wall. As earlier mentioned, rs Pp is the same as Obtl.30 Because Obtl worship is widespread in Yorbland, he is known by other names in other Yorb towns. In jgb he is known as gyn, rskir in kir, rs olfn at Ifn, rl in krun, and rsnl in Ile-Ife.31 This is confirmed by the ork of Pp as chanted by one of the female devotees at the shrine.32 Every divinity has a set of cognomen with stories, which are recited in commemoration of his attributes, greatness and nature. It is therefore not strange to find images, forms and colors testifying to the lines in the various versions of ork. The painters also state categorically that the recitation of ork gives the painters inspiration as they perform their religious duties. As the creator god, Obtl or rs Pp is saddled with the responsibility of making humans. He is therefore known as the sculpture divinity33 . The walls of rs Popos shrine are painted with a rhythmic pattern of gods, men and animals to show the acts of Obtl in the course of creation. Animals like birds and goats, though not so distinct are represente.34 (Fig. 8: Birds). One of the practical applications of ork on the painting is expressed in: Eni soj se m

rs ni ma sn Ad ni b ti r rs ni maa sin He who fashion the eyes and nose it is rs I will worship He who creates as he wishes It is rs I will worship35 One can visibly recognize stylized human figures with faces on the painting. In fact, the mural has more human figures than other forms and images, all enmeshed in white dots. Another ork attests to this: -s-enkan-soso digba nyn So m di rn So m digba So m di t-l-lgbje nyn 36 O you who multiplies one into two hundred persons! Multiply me into one hundred, Multiply me into two hundred Multiply me into one thousand four hundred and sixty persons. The thousands of dots all over the wall may be translated as meaning the eye of the rs. This is expressed in: Olj kra bi ajere One who is all seeing like ajere pot. Ajere pot is a traditional Yorb pot perforated with several holes. It is used for several religious purposes and sometimes in preparation of efficacious medicine.

Women play critical roles in the worship of Obtl. They seek help from the deity in order to give them children. The stigma associated with barrenness among the Yorb people is very destabilising. It is believed that every marriage must produce its own offsprings. Through this norm every married woman even in modern times goes to any length to bear children. If visiting Obtls shrine will solve the problem, why not? The societal verdict remains, without a child you cannot be considered a complete woman. A testimony of this is narrated in: ml tar oj so gn di albiyamo, gn t rb, ti r s leyn olwa w 37 Neighbor at the market, who makes barren women into nursing mother. The barren women, stoops behind our lord for help. This is practically depicted on the left side of the painting where female figures are painted with earrings on their ears. Close to the floor on the left side are other figures thanking Popo for answering their prayers. Obtl represents the Yorb ideas of ritual and ethical purity, and therefore the demand and sanctions of his morality. Immaculate whiteness is often associated with him. This symbolizes holiness and purity38 . On rs Pp painting, funfun - white is perhaps the most dominant colour (Fig. 10). The devotees are usually dressed in white, all items used in the shrine should be white, including the food (pounded yam, ko, (congealed pap) r (shea butter) and gbn - (snail). On account of that also, he is praised as: Bt-banta nn l sn nn l j nn l ti in l dde Immense in white robe He sleeps in white clothes

He wakes up in white clothes He rises in white clothes.39 In another ork there is a particular interesting aspect, which says: Obtl k f epo Obtl k f osun Obtl abhors palm oil Obtl abhors cam wood.40 This ork confirms Obtls preference for white. Pupa (red) and dd (indigo or black) is also seen on the mural. These two colours do not have any symbolic connotation to the rs, but they serve as complimentary colours to the white to give aesthetic value and balance of design and harmony. On the y mural, hunters, warriors and their tools of trade are depicted, this is not so on rs Pp painting. This is because Obtl is a god of peace and purity. He does not harm his children whom he moulded with his own hand. The ork which expresses this belief and which invariably must have influenced the painting is in: s m j k ta f nl y ll Iyn oj Pp ni o j maa t snu onl oj Pp m jgun j l re gbod jgun le jl wa.41 rs, prevent us from shooting arrows in this town forever. Provide us pounded yam to eat Landlord of Pp, do not allow war to break out in your town. Do not allow war to break out in our town. The significant influence of ork in the interpretation of this painting cannot be over emphasized. Inasmuch as the painters and devotees could not give any concrete information concerning the images they have painted, the ork has enabled us to understand and appreciate this mural.

Another shrine painting with some glaring influence of ork in the images represented is the gbni Repository in Ils.

The gbni Repository, Ils


The gbni repository in Ils consists of three shrines dedicated to gn, the Yorb god of Iron, sun, river goddess and the gbni shrine.42 The presence of gn shrine in almost all major shrines in Yorbland is significant. According to a myth, it was gn who cleared the way for other divinities on their way to earth.43 gn is thus praised as: gn ald mj: n f kan sn ko n f kan yn gn, possessor of two machetes with one he prepares the farm, with the other he clears the way The presence of the cutlass on the mural is therefore seen as representing the attribute power of gn through the cutlass and other iron tools known as a hunter and the patron saint of hunters in Yorbland, some versions of gns ork praise him as requesting particular animals. Some of these animals may be the ones represented on (Fig. 9: Wall of motifs). Apart from the dog motifs, other animals depicted resemble some wild animals with pointed teeth, whiskers and ear on the upper left side of the wall. The snake motif is easily recognizable; one however quickly questions the representation of the snake (Fig. 10: Compound wall). On this, Campbell explained that there are similarities between the fierceness of the gn with that of the fiery nature of the serpent, as well as the closeness and eartheness of both the serpent and gn to Il.44 To the extreme right of the wall and the second to the last image is another animal with horns and long ears. This anthropomorphic image cannot be mistaken for any other animal than the ram (gb). The representation of these animals is not out of place. It is attested to by yet another ork:

gn mje lgn mi: gn Alr n gbaj; gn Onr a gbgb; gn kol a gbgbn; Telmon ngba isu ssun gn Akinrin a gbwo gb; gn gbn-gbn, eran ahun l ma je. There are seven denominational gn who receive my devotion: gn of Alr it is who takes dog; gn of Onr it is who takes ram; gn of Surgery habitually takes snail; That of elemon it is who take roasted yam; gn of Akinrin habitually takes rams horn; gn of the artisans, it is the flesh of tortoise that he eats.45 Apart from the representation of the ram on the painting, other animals mentioned in the above ork are not so painted; the artist may have excluded them for lack of space or for compositional competence on his part. gns favourite colour is red, and this in Yorb colour symbolism signifies fierceness, it marks the ferocious and volatile temper of the deity. This nature made it difficult for gn to adjust to community life. He therefore resides in seclusion. Whenever he sought a settled life, every community rejected him on account of his terrible appearance. This is alluded to in an ork chant: Ij t gn nti or-k b aso in l m bo ra w j l w

The day gn was descending from Hilltop he was clothed in fire and wore garments of blood.46 It has been earlier mentioned that the decorations of the walls are usually accompanied with drumming and dancing, which most times include the recitation of the deities ork. It is therefore not strange to find such artists well versed in the ork chants of the deities especially when the bt drummers are performing (bt drum is requisite for gn and Sng worshippers). At such times the painter is in a highly charged state of creative consciousness enabling him or her to create images that best befits the rs. sun is one of the female rs in Yorbland. As a fertility goddess she is regarded as the most important of these female divinities, she is therefore a symbol of motherhood. In her honour, a segment of the gbni repository in Ils is dedicated to her.47 As a provider of children, women from all walks of life visit her shrine (sun groove in sogbo) to offer ablution in hope of the gift of children. She is thus praised as: slr gbo, gbr gbo, l sn fi we omo r k dkt t d Floods of concoction Are what sun bathes her children in Before the doctors came. Therefore the kneeling figure of the second section of the gbni shrine represents such endearment. It symbolizes knl Abiamo (Birth pains). knl Abiamo summarily symbolises a woman in labour pains, at the very moment when she is to be delivered of her baby. At such a crucial moment, she experiences labour pains. (Birth pains) In reference to this critical period, the Yorb people often say: E rnt knl abiamo Remember the labour pains. This they plead for when a child or a person is being subjected to inhuman treatment. The importance of labour pains and the relationship between a child and the mother as expressed by the Yorb people is also corroborated by a passage in the Holy Bible,

where Jesus spoke about when a woman is in travail she has sorrow, because her hour has come; but when she is delivered of the child she no longer remembers the anguish, for joy that a child is born into the world John 16:21 (RSV. Holy Bible)48 . The joy a woman exhibits after delivery despite the pains signifies their desire to have a child irrespective of what it takes. The kneeling could also symbolize a barren woman seeking suns help to heal her of barrenness.

Conclusion
As evident in the traditional murals influenced by ork, Yorb ork has been proven to be a very potent tool in the hands of the local artists in representing their visual art. The contents and attributes of various ork were utilized to paint images in beautifying the walls of palaces and shrines; most of these paintings were executed before the widespread use of written language among the Yorb people. Their art thus became a means of visually representing the attributes of the rs or Oba as expressed in various ork chants. This was even more acceptable because a larger number of the community was well versed in their indigenous ork. In contemporary times, ork can also serve as a rallying point, and a driving force in the development of traditional themes in painting. It can create a possible means by which modern materials like oil paints can be used in executing paintings using the ork as the basis for composition. Execution of traditional themes in painting will then no longer be restricted to palace walls and shrines alone but also on canvass, private and public walls (murals). It has been ascertained by many scholars (Karin Barber 1991, Adpgba, 1995 Aknyem, 1991, Oltnj, 1984, Finnegan, 1970 and Johnson, 1976), that ork also play the role of historical record keeping among the Yorb. Today however, citation or singing of ork is only left to the aged and akws who use it as a means of livelihood in their musical production. Introducing ork into our arts it makes it more lasting because art is known to last forever. Art is also not static. If our traditional artists could achieve considerable success in utilizing ork as a driving force in the production of the murals, artists in contemporary times should also tap ideas and inspiration from the same source. This will enhance, and bring some traditional identity in their creative works. Through this, we may be able to spur the younger generation to have a renewed interest in their individual, family and town ork.

References
Adby B. (1967): Awon Ork Orle: ed. William Collings, Glasgow.

Adpgba, C.O. (1995). Nigerian Art: Its Tradition and Modern Tendencies, Ibadan Jolad Press. rm, A: 1979 Asanyan Oriki: Onje, Ohun Ogbn, r, Eye, Eranko ati Ej. University of Ibadan Press Limited, Ibadan. Aknyem, A. (1991): Poets as Historians: The Case of Akinyungba in y, in ODU, A Journal of West African Studies, Obafemi Awolowo University Ile-Ife. Aw, B,. (1975):Notes On Oriki and Warfare in Yorubaland, in Yoruba Oral Tradition. Ed. Wande Abimbola, Dept. of African Languages, University of Ife.Ile-Ife. Karin Barber. (1991): I Could Speak Till Tomorrow: Oriki, Women and the Past in a Yoruba Town. Edinburgh University Press. Beier, U. (1960): Yoruba Wall Painting in ODU. A Journal of West African Studies, Obafemi Awolowo University, Ile-Ife. Campbell, V. B. 1989 : Comparative study of selected shrine Paintings in Ile-Ife and Ilesa. (Unpublished MFA Thesis, Obafemi Awolowo University Ile-Ife). Fdp, N.A., (1975): The Sociology of the Yoruba, Ibadan University Press. Finnegan, R. (1970): Oral Literature in Africa, Oxford University Press. Folrnm, S. A. (2000): y Palace Mural, (Unpublished MFA Thesis), Obafemi Awolowo University Ile-Ife. --------. (1995): Orisa Popo Shrine Painting in Ogbomoso. (Unpublished B.A. Thesis Obafemi Awolowo University, Ile-Ife) dw, B. (1996): Olodumare, God in Yoruba Belief, Longman Nigeria Plc. Revised and Enlarged edition. Johnson, S. (1976): The History of the Yorbs, Lagos CSS Bookshops. Oltnj, O. (1984): Features of Yoruba Oral Poetry, University Press Limited, Ibadan. kdji, Moy (1992): Orisakire Painting School, Ile-Ife, in Kurio Africana. Vol.1 no.2. ---------. (1986): Yoruba Paint Making Tradition in Nigerian Magazine, vol.54. No.2

Smith, M.G. (1957): The Social Functions and Meaning of Hausa Praise-Singing, Africa 27.

Endnotes
1. Beier U. (1960): Yoruba Wall Painting in ODU: A Journal of West African Studies, Obafemi Awolowo University Ile-Ife, 36-39. 2. kdji, Moy (1992) : Orisakire Painting School, Ile-Ife, in Kurio Africana. Vol.1 no.2,.122. 3. kdji, Moy (1986): Yoruba Paint Making Tradition in Nigerian Magazine, vol.54. No.2. 4. Campbell V. B.(1989) : Comparative Study of Selected Shrine Paintings in Ile-Ife and Ilesa. (Unpublished MFA Thesis, Obafemi Awolowo University Ile-Ife). 5. Johnson, S. (1976): The History of the Yorbs, Lagos CSS Bookshops, 85. 6. Finnegan, R. (1970): Oral literature in Africa, Oxford University Press, 111. 7. : op. cit., p. 11 8. Oltnj, O. (1984): Features of Yoruba Oral Poetry, University Press Limited, Ibadan. p 77 9. op. cit., 68. 10. op. cit., 14. 11. Finnegan, R. (1970): op cit., 114. 12. Aw, Bolanle: (1975): Notes On Oriki and Warfare in Yorubaland, in Yoruba Oral Tradition. Ed. Wnd Abmbl, Dept. of African Languages, University of Ife, Ile-Ife 268-29. 13. Karin Barber. (1991): I Could Speak Till Tomorrow: Oriki, Women and the Past in a Yoruba Town. Edinburgh University Press, 184-187. 14. Folrnm, S. A. (2000): y Palace Mural, (Unpublished MFA Thesis, Obafemi Awolowo University Ile-Ife, 26. 15. Ibid.

16. : op. cit., 33. 17. Finnegan, R. (1970): op. cit., 122. 18. Adpgba, C.O. (1995): Nigerian Art: Its Tradition and Modern Tendencies, Ibadan Jolad Press, 22. 19. rm, A: 1979 Asanyan Oriki: Onje, Ohun Ogbn, r, Eye, Eranko ati Ej. University of Ibadan Press, Limited, Ibadan, 11. 20. Adpgba C. O.: op. cit., 22 21. Adby B. (1967): Awon Ork Orle: ed. William Collings, Glasgow, lines 29, 39, 113-117 22. Johnson S. (1976): op. cit., 85 23. Ibid. 24. Ibid. 25. Mrs. Afolb: Oriki Chants of Alaafin of y. (recorded audio tape by Stephen Folrnm, y town, March 1999) lines 56, 59, 7, 38-41. 26. Aknyem, A. (1991): Poets as Historians: The case of Akinyungba in y, in ODU, A Journal of West African Studies. Obafemi Awolowo University Ile-Ife, 142-143. 27. Fdp, N.A., (1975): The Sociology of The Yoruba, Ibadan University Press, 316. 28. : op. cit.,pp. 146-147. 29. Smith, M.G. (1957): The Social Functions and Meaning of Hausa Praise-Singing, Africa 27. 3. 30. Folrnm S. A. (1995): Orisa Popo Shrine Painting in Ogbomoso. (Unpublished B.A. Thesis Obafemi Awolowo University, Ile-Ife), p. 2230. Johnson, S. (1976): op. cit.,.27 31. Johnson, S. (1976): op. cit., 27. 32. Adt Akrle : Oriki chants of Orisa Popo (recorded audio tape by Stephen Folrnm, Ogbomoso, 1995).

33. dw B. (1996): Olodumare, God in Yoruba Belief, Longman Nigeria Plc. Revised and Enlarged edition. 90. 34. Beier U. (1960): op. cit., 36-39. 35. dw B. (1996): op. cit., 71. 36. op. cit., 73. 37. Adt Akrle: Ibid. 38. dw B. (1996): op. cit., 72. 39. op. cit., 73. 40. Adt Akrle : Ibid. 41. Ibid. 42. Campbell V. B. (1989): Comparative study of selected shrine Paintings in Ile-Ife and Ilesa, (Unpublished MFA Thesis, Obafemi Awolowo University Ile-Ife), 58. 43. dw B. (1996): op. cit., 85. 44. Campbell V.B. (1989): op. cit., 62. 45. dw B. (1996): op. cit., 86-88. 46. op. cit., 84. 47. Campbell V.B. (1989): op. cit., 63. 48. Holy Bible, St. John 16:21 (Revised Standard Version).

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