Scholarly Publications

About ISESE Publications

ISESE:

Ibadan Journal of Folklore is motivated by a set of urgent purposes: the promotion of folklore scholarship and academic excellence in African, African American, West Indian, Asian and Australian folklore studies, and making folklore scholarship breakthrough its seemingly rigid boundaries, encouraging and embracing a more lively inter-disciplinary discourse. It is a continuation, not a beginning, of a compelling need to make folklore scholarship highly relevant to the requirement of developing countries in general, and to Africa and Africans, in particular.
Folklore studies in the developing world have, for too long, been oriented towards western established canons and traditions. The implications are that its potentialities and functionality, to a significant degree have remained unrealized and, under-utilized. We mean to change this existing situation positively through the expansion of the frontiers of folklore scholarship, formulation of explanations and explanatory models, coupled with the search for a more adequate theory or set of theories for the purpose of application and facilitation. Folklore studies must be conceived as a part of the complex situation in bi-or multicultural societies, as well as in the promotion and sustenance of cross-culturalism /inter-culturalism.

Of course, we realize that any attempt to achieve these purposes is immediately constrained by almost lack of relevant bibliographical materials. Furthermore, the available archival materials and other pieces of sourced information through informants, etc in most cases have been either mismanaged or mutilated; therefore they remain partly or largely irrelevant. We quite appreciate, no doubt, the efforts and the invaluable contributions of a few folklore scholars most of whom have indicated their interest and support for the ISESE project. Unfortunately, most of the works of these experts are hardly accessible and, or affordable to most students and teachers of folklore in most developing countries.

This is as a result of global economic recession and the managerial inefficiency of most leaders of the developing countries.
The ISESE publication series which include Ibadan Journal of Folklore; Monographs; Interview Series; and Biographies represent immediate and long-term efforts at revitalizing and establishing Folklore studies as cultural, intercultural and interdisciplinary discourse, harnessing and making available efforts by, and to all interested scholars in the field of folklore. The volumes in the ISESE projects will be addressed to the academic world; teachers and students who constitute the essential partners in the task of promoting a new world culture.

 Articles in ISESE: Ibadan Journal of Folklore, and ISESE Monograph to be acceptable should reflect research activities from a more general point of view of theory, teaching methods, etc. For the benefit of would-be contributors, preference will be given only to well-researched essays and completed research works in all areas of the arts, indigenous and modern, that are of special interest and importance to folklore studies. These include, performing, literary (oral and written), linguistic, religious, visual, music, history, art history, philosophy, archaeology, anthropology, criticism and poetics in their widest sense. We also encourage comparative studies in modern and cross-cultural traditions in the areas specified above. Similarly, the Literary (Creative) Series which is aimed at encouraging, developing and promoting cultural/creative (literary) works by new writers from Africa and in the Diaspora welcomes well written manuscripts in prose, poetry and drama.
Contributions to the Monograph and the Interview Series should be between 30 and 100 pages, the Ibadan Journal of Folklore, between 10 and 15 pages, all typed in double-line spacing on A-4 paper, and following the revised MLA style sheet. Authors of accepted manuscripts are required to submit two copies of the final revision of their works and a diskette copy processed in Word Perfect or MS Word.

All correspondence to:

The Editors/ICSG Coordinators:

Ademola Omobewaji Dasylva: a.dasylva@ibadanculturalstudiesgroup.org

Philip Adedotun Ogundeji:
o.ogundeji@culturalstudiesgroup.org

The quest for alternative theories for a more appropriate classification of African oral literature in the light of apparent critical inadequacies of existing western classificatory criteria had started, perhaps, before Alan Dundes wrote his essay, “Texture, Text and Context” published in 1964. The critic had warned in a different context though, that any attempt by critics to either apply or impose strict criteria that are external to folkloric materials is doomed to fail. It is in the light of this that, in recent times, efforts are being made by African critics to evolve truly African critical standards.

The alter-Native theory that is proposed in this little book recognizes African loric traditions as culture-bound, and as such, possesses intrinsic and extrinsic
taxonomic imperatives for the production of the different aspects that constitute them. The imperatives are determined by form, content and style. By
implication, the proposed theory takes cognizance of the sociological factors which foreground such traditions in Africa as possessing their individuality and
idiosyncrasies at the level of content, thereby necessitating classification to vary from culture to culture. Similarly, the proposed theory recognizes that the
text of any form of oral literature is not limited to, but extends beyond the limitations of, linguistic symbols in which the human language is expressed.

RITUAL AS THEATRE, THEATRE AS RITUAL: The Nigerian Example (Monograph), 44 pp
Author: P.A. Ogundeji

Early scholars of African literature have carried out quite a lot of research on oral poetry and oral narratives that are peculiarly indigenous to Africa. But very little has been done on traditional drama and theatre. This is because African literature is largely performative, including oral poetry and oral narratives… Though related in many ways, theatre and drama have areas of differences. Though they both employ other arts as materials in the articulation of their forms and execution of their functions, they are quintessentially mimetic and, therefore, performative. Other arts which are usually incorporated in them include presentational arts like music, dance, poetry, dialogue, chant, song, role-playing, acrobatic, costuming, make-up, masking, spectacle, story-telling, among others. In theatre all the other arts, including drama, are harnessed primarily, for entertainment or aesthetic purpose. Apparently, theatre is larger in scope than drama, although drama constitutes the quintessential literary components of theatre like plot, characterization, dialogue, and theme, etc., in modern times. …

It is the first of the ISESE Interview Series that are aimed at accessing and harnessing vital information on selected Nigerian theatre practitioners. One of the great achievements in the past five or so decades of Nigerian Theatre Practice is the emergence of a national theatre. No doubt, there are works on a few Nigerian theatre practitioners, including a few surveys of the development of theatre in Nigeria which are scattered in some libraries and cultural institutions in and outside Nigeria. However, a concise biographic documentation of Nigerian theatre practitioners does not exist yet. This book of interview is a comprehensive documentation that highlights Professor Dapo Adelugba’s contribution to the emergence and development of the Nigerian Theatre in the almost four decades of his career as a teacher of theatre, a foremost theatre, and a cultural nationalist.
The introduction by Professor P.A. Ogundeji provides necessary links between the formative stage when the Nigerian theatre practice began to evolve and the time that Dapo Adelugba made his entry into theatre practice. It is a rich contribution which among other things, sheds light on the cultural milieu and heritage that produced Adelugba.

“Prof. Dapo Adelugba, the subject of the interview transcribed in this volume, has been active in the practice of the theatre for well over forty years … he is an invaluable witness to the development of the various arts associated with the theatre within and outside the walls of the University of Ibadan. He has been involved in the training of  of many generations of Ibadan Theatre Arts graduates and professional, and has been closely associated with many Nigerian dramatists and their work … the questioning at this level of interview unfolds as a genuine inquiry into knowledge by its probing and its revelations. To take one extreme instance, the debate about culture and religion in Nigeria is carried on gloves off. It becomes productive, not only in so far as it brings into the open the subtext of a cultural resurgence that leans  towards a new iconoclasm, but also in the critical engagement with the meaning of culture in the context of contemporary practice.  … A number of fundamental issues are raised, and some new or, at least refreshing ideas emerge. There is the theorizing about character of the actor who plays Praise Singer in (Wole Soyinka’s) Death and the King’s Horseman. And there is Adelugba’s view that the play texts are false transcripts of theatrical reality because they are only verbal representations of a many-sided artistic experience.” 

-         
Professor Dan. Izevbaye, formerly of the Department of English, University of Ibadan, now, Bowen University, Iwo, Nigeria.  

Author/Interviewer

Ademola O. Dasylva, Reader & Co-coordinator of Ibadan Cultural Studies Group, teaches African literature, Oral literature, world drama & poetry, Department of English, University of Ibadan. His collection of poems, Songs of Odamolugbe (2006), won the Association of Nigerian Authors/Cadbury Poetry Award for 2006. He is author and co-author of a number of scholarly books and several journal
articles.

• Orin Ewúro (Songs of the Bitter Leaf – Yoruba Poetry)

  The poems in this collection by ÀtàríÀjànàkú examine various important themes and issues related to contemporary Yoruba society in particular and Nigeria in general. Many immoralities are exposed, the rot of social inequalities and instability is revealed and solutions to the problems are proposed. Important among such themes and issues are cheating of the poor masses and lording over them with iron hands. Though Àtàrí Àjànàkú can truly be regarded as an advocate of the poor masses he does not withhold the lashing them with the corrective whip of his tongue when necessary. The poet uses beautiful language and interesting poetic styles. The collection contains notes on each poem and on difficult words together with forty multiple questions and answers for students.

  
  

   

  • LYRICS OF THE RIVER Nelson Fashina

  A collection of Poems described by a critic simply as, “a signifying idiom for understanding a people’s cultural values.”

• 
  A Season of Harvest- Nelson Fashina

• gods at the harvest - Nelson Fashina

 “It was particularly difficult to make a selection from several good papers, and as such the process of review took s long time not only because of the number of papers but also because of the need to put together a volume that would do justice to the theme of the conference.” – Prof. Francis O. Egbokhare (GFAL lead editor) 

Francis O. Egbokhare is a Professor of Linguistics and was Chair, Department of Linguistics & African Languages, University of Ibadan, Nigeria, when the WALC conference held in 2004. Professor Egbokhare is a poet, critic, and human rights activist. He is author of several scholarly publications, books and journal articles. He is currently the Director, University of Ibadan Distance Learning Centre.  

Clement Olusegun O. Kolawole, Ph.D,
is a Senior Lecturer in the Department of Teacher Education, University of Ibadan; specializes in bilingual education, applied linguistics and curriculum instruction. He is author of Curriculum Design, Implementation & Innovation and co-author of A Basic Text on Use of English. He is widely published in reputable scholarly journals. 

 

Dr. Kolawole, C.O.O.
is a senior lecturer, Department of Teacher Education, University of Ibadan,Ibadan, Nigeria.

Dr. Adelabu, Bola
is a senior lecturer, General Studies Unit, University of Agriculture, Makurdi, Benue State, Nigeria.

• CURRICULUM DESIGN (Implementation and Innovation) (2006)

“… there is no real substitute for understanding curriculum and its inherent properties, for these constitute the field of influences that shape the lives of learners in the classroom. It is crucial that teachers learn to recognize and use these influences in developing
educational activity.

… Therefore, Curriculum Design, Implementation and Innovation provides teachers with a mode of inquiry that allows them to explore curriculum designs and to consider how these influences may be used to achieve educational purposes. The goal (of the author of this book) is to have the classroom teacher become expert designers in their own right. It is the classroom teacher who converts curriculum blue prints into classroom instruction.

…The textbook will surely help students and educators clarify parameters of contemporary curriculum thought, and find ways to design curriculum   which represents a comprehensive approach to planning. In addition, they should find much of what is written here useful in their efforts to work with professional educators…”  

–

Professor James A. Ajala, Professor of Health Education & Curriculum Studies, Faculty of Education, University of Ibadan, Ibadan, Nigeria.  

 Author:

Clement Olusegun O. Kolawole,Ph.D, is a Senior Lecturer in the Department of Teacher Education, University of Ibadan; specializes in bilingual education, applied linguistics and curriculum instruction. He is co-author of A Basic Text on Use of English and co-editor, Globalization and the Future of African Languages.He is widely published in reputable scholarly journals.