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Who invented talking drum?
The talking drum is a musical instrument from West Africa, which is hourglass-shaped. It was invented in Oyo, Nigeria by Alaafin Ajiboye.
What is the talking drum made of?
Drums appeared as far back as100AD. That makes it over 1000 years ago.Long, long ago, in ancient times; the drum dates back before written history so there was no record made of the occasion. No one knows who made the first drum or the specific date.it dependsThe Red Drum was invented approximately 6,000 years ago by the Native Americans.
What is the origin of alarinjo theater in Nigeria?
The Yoruba Masque Theatre, popularly known as the Alarinjo, is the traditional traveling theater of the Yoruba. Originating in the Egungun masquerade cult, it dates back to the early part of the seventeenth century when Ologbin Ologbojo, who was Arokin (chief rhapsodist, cymbalist and ballad singer) and Ologbo (staff bearer) of the royal household of King Ogbolu, the Alaafin of Oyo Igboho, set up a troupe of masqueraders and akunyungba (chorus) to entertain the king. The first accounts of the Yoruba masque theatre' are contained in the journals of Hugh Clapperton and Richard Lander. To mark their seven weeks' stay in Old QyQ (Katunga), the capital of the OQy (Yoruba) empire, the alafin (king) of QyQ, invited his guests to see a performance provided by one of the travelling troupes which at that time was waiting on the king's pleasure.The Yoruba masque theatre emerged from three developmental phases: ritual, festival and theatre. Yoruba masque started as a funeral ritual:Shng had tried in vain to secure the remains of his father, 'Oranyan, the founder of Qyo, for burial at QyQ after the latter had died at Ife. He was told that 'Oriny'an had metamorphosed2 into a stone staff. As an alternative, $ang6 designed a new funeral obsequies for 'Orany'an at QyQ. At a special ceremony, he brought the reincarnated spirit of his father to the outskirts of OQy, set up the royal mausoleum for his worship and placed the old woman of the palace in charge of the mystery. Her duty was to worship 'Qr'anyan's spirit and to bring him out as a masquerade during an evocation ceremony.And so this ancestor worship led to a festival called the festival of "All Souls" at which there were processions and rituals...during the festival, all ancestors were allowed to visit the homestead and walk the streets of the community for a certain period. The theatre phase emerged from the "All Souls" festivals. A special or command performance was called for the last day of the festival. This became a kind of ludus. The masquerades were expected to act plays in a form of competition. The contest was voluntary and merely intended to raise the voltage of the festival. Prizes were given in appreciation of the performance of the best masquerade.The history of the Yoruba masque theatre cannot be separated from the rise and fall of the QyQ-Yoruba empire. As the theatre became an integral part of the government, troops began to spread across the empire. Prior to the weakening of the empire, theatre was based out of court. But during the period of social and political unrest new troops sprang up and began performing for any group that invited them. They participated in the annual egu'ngun festivals as was their custom and, on non-festival days, were able to satisfy the people's desire for entertainment and diversion; whether the occasion was a birth or a death, the troupes were specially invited to perform. In addition, they organised their own itineraries and visited places. Thus began the period of intensive professionalism, and theatre became independent of government.he travelling dance-theatre troupes). The corroding influence of such external forces as Islam and Christianity affected the existence of the theatre in the Yoruba society more than the disruption of political life. During the first half of the nineteenth century the Moslems banned theatrical activities in the Fulani occupied areas of Yoruba to the north thereby forcing the troupes to operate in the south. Also during the second half of the nineteenth and early part of the twentieth centuries, Christian missionary activities which moved up-country from the south had grave consequences on the traditional, social, political and religious institutions. The missionaries found ritual ceremony intolerable, made no efforts to understand traditional forms of religion and set out to reform the mental outlook of their converts. This period marked the decline of the theatre.IIThe artistic basis of this theater is poetry. Yoruba poetry primarily takes the form of a chant, whose harmonics and melodics distinguish various subdivisions. The poetry of the guild of masqueraders, and that of the Yoruba Masque Theatre, is called esa after the first dramatist from Yoruba Masque Theatre. The esa is drawn from the biographies of certain persons, ecological features of settlements, and episodes from myth and history. The layout of the poetry does not seem to possess a rigid form, but it is believed that the general pattern follows the design established by Esa during the heyday of the theater. The form and style of presentation are described under four headings: Prologos, Ludus, Interludus and Epilogos.This is the fruit of four hours of research. Most of this is from Joel A. Adedeji from his works.God bless, Briana.
What is the history of alarinjo travelling theater?
The Yoruba Masque Theatre, popularly known as the Alarinjo, is the traditional traveling theater of the Yoruba. Originating in the Egungun masquerade cult, it dates back to the early part of the seventeenth century when Ologbin Ologbojo, who was Arokin (chief rhapsodist, cymbalist and ballad singer) and Ologbo (staff bearer) of the royal household of King Ogbolu, the Alaafin of Oyo Igboho, set up a troupe of masqueraders and akunyungba (chorus) to entertain the king. The first accounts of the Yoruba masque theatre' are contained in the journals of Hugh Clapperton and Richard Lander. To mark their seven weeks' stay in Old QyQ (Katunga), the capital of the OQy (Yoruba) empire, the alafin (king) of QyQ, invited his guests to see a performance provided by one of the travelling troupes which at that time was waiting on the king's pleasure.The Yoruba masque theatre emerged from three developmental phases: ritual, festival and theatre. Yoruba masque started as a funeral ritual:Shng had tried in vain to secure the remains of his father, 'Oranyan, the founder of Qyo, for burial at QyQ after the latter had died at Ife. He was told that 'Oriny'an had metamorphosed2 into a stone staff. As an alternative, $ang6 designed a new funeral obsequies for 'Orany'an at QyQ. At a special ceremony, he brought the reincarnated spirit of his father to the outskirts of OQy, set up the royal mausoleum for his worship and placed the old woman of the palace in charge of the mystery. Her duty was to worship 'Qr'anyan's spirit and to bring him out as a masquerade during an evocation ceremony.And so this ancestor worship led to a festival called the festival of "All Souls" at which there were processions and rituals...during the festival, all ancestors were allowed to visit the homestead and walk the streets of the community for a certain period. The theatre phase emerged from the "All Souls" festivals. A special or command performance was called for the last day of the festival. This became a kind of ludus. The masquerades were expected to act plays in a form of competition. The contest was voluntary and merely intended to raise the voltage of the festival. Prizes were given in appreciation of the performance of the best masquerade.The history of the Yoruba masque theatre cannot be separated from the rise and fall of the QyQ-Yoruba empire. As the theatre became an integral part of the government, troops began to spread across the empire. Prior to the weakening of the empire, theatre was based out of court. But during the period of social and political unrest new troops sprang up and began performing for any group that invited them. They participated in the annual egu'ngun festivals as was their custom and, on non-festival days, were able to satisfy the people's desire for entertainment and diversion; whether the occasion was a birth or a death, the troupes were specially invited to perform. In addition, they organised their own itineraries and visited places. Thus began the period of intensive professionalism, and theatre became independent of government.he travelling dance-theatre troupes). The corroding influence of such external forces as Islam and Christianity affected the existence of the theatre in the Yoruba society more than the disruption of political life. During the first half of the nineteenth century the Moslems banned theatrical activities in the Fulani occupied areas of Yoruba to the north thereby forcing the troupes to operate in the south. Also during the second half of the nineteenth and early part of the twentieth centuries, Christian missionary activities which moved up-country from the south had grave consequences on the traditional, social, political and religious institutions. The missionaries found ritual ceremony intolerable, made no efforts to understand traditional forms of religion and set out to reform the mental outlook of their converts. This period marked the decline of the theatre.IIThe artistic basis of this theater is poetry. Yoruba poetry primarily takes the form of a chant, whose harmonics and melodics distinguish various subdivisions. The poetry of the guild of masqueraders, and that of the Yoruba Masque Theatre, is called esa after the first dramatist from Yoruba Masque Theatre. The esa is drawn from the biographies of certain persons, ecological features of settlements, and episodes from myth and history. The layout of the poetry does not seem to possess a rigid form, but it is believed that the general pattern follows the design established by Esa during the heyday of the theater. The form and style of presentation are described under four headings: Prologos, Ludus, Interludus and Epilogos.This is the fruit of four hours of research. Most of this is from Joel A. Adedeji from his works.God bless, Briana.
What is the history of the Ondo Kingdom?
Brief History of Ondo KingdomThe Ondo Kingdom, in it's pre-colonial setting, comprised the area which lies on latitude 7°6' north, and 4°50' east, in the tropical rain forest belt of Nigeria. It was bounded in the north by the modern Akure and Obokun Local Government Areas; in the south by Ilaje/Eseodo Local Government Areas, and part of Ijebu in Ogun State; while in the east it is bounded by Owena River, beyond which is the Ifedore Local Government Area, and in the west by "Ooni River". In the south the land is low-lying and borders on the creek area of the Ilaje/eseodo, but rises gradually towards the north, Ode-Ondo itself being 290 meters above sea level. The kingdom covers an area of 4,060 km² and the population is (1991 Census) of which a large majority live in Ode-Ondo the capital of the kingdom.Ondo lies in the humid tropic with tropical rain forest and the south- easterly wind throughout most of the year. During the months of December, January, February, the cooler dry continental air from the north prevails. The rainy season proper lasts from March or April until December.The kingdom is covered with forest and contains valuable timber, mostly Mahogany, Opepe, Afara, Obeche, Olofun, etc. with a big forest reserve of over 1000 square kilometres. An annual average of timber extraction is almost 23 x 105 cubic metres.The whole area is cut up by a number of clear streams running into four rivers - Owena, Ufara, Oluwa and Ooni, which flow southwards into the creeks. In the north, there are considerable granite outcrops said to be of volcanic origin. The Ondo are keen farmers, raising food crops, such as yams, cassava, maize, cocoyam, rice and beans, among others. Cash crops include cocoa (the most important of all, covering a large portion of arable land), rubber, coffee, kolanuts and palm produce. There has been a decline in food production following the expansion of cocoa plantation in the kingdom. The effect of this is that the Ondo have had to depend to a large extent on their neighbours for foodstuffs. An extensive timber extraction from the forest was a source of wealth to the people. Local industries and crafts include blacksmithery, gold- and silver-smithery, bricklaying, carpentry and shoe making. The people also trade in merchandise.At the inception of colonial rule, Ondo Kingdom comprised thirty-three towns, villages and hamlets with capital at Ode-Ondo. Most of them were large towns before they were scattered by internecine wars.Various accounts are given as to the origin of the Ondos. This is so because there is no written record of the period, and consequently much of what is known of the time is legendary. The most important of these accounts will be relate here:1. The mother of Osemawe who was a wife of Odudua gave birth to twin children. At this time twins were not allowed to live. It was not an every day occurance and the arrival of twins was always looked upon with great disfavour. It was this that gave Osemawe his name (Ese ma re; Here was a strange phenomenon. Abese or Ese: strange phenomenon). The mother had to escape to a secluded place for safety with her children. In all probability it was on of those children who became the first queen of the Ondos. We shall refer to her reign later on.2. According to Doctor Johnson in his Yoruba History, the Ondos descended from the Alaafin of Oyo; but this story does not find favour with the Ondos. They regard it as the Oyo version of this ancient period.3. Yangede, who claimed his descent from Oduduwa as did the other kings in the Yoruba contry, left Ile-Ife about the same time as the others. When his sons were going, Oduduwa gave them different presents. To Yangede he gave a fan. Fan therefore is the national emblem of the Ondos. Yangede must have halted at a place near Ile-Ife called Ita Jamo, before going on his journey, for the people of Ondo are spoken of as: Ara Itaa Jamo; Eki m'ogun, Omo alade 'gbo, o fi agbo'de m'enu. (A native of Ita Jamo; Eki m'ogun, son of the prince of forest who drinks palm-wine from a brass cup). He finally settled at Epe; a place not far distant from the town of Ondo. It was this Yangede who was said to be the father of the first Osemawe. It is interesting to observe that at the recent installation of the present Oni a fan as one ofthe articles sent to him. This was in consequence of the fact that a fan was an article taken from Ile-Ife at the time of the departure from Ile-Ife of the progenitor of the Ondo people.From these legendary tales, some facts may be inferred. The claim of the Ondos to have descended from Oduduwa of Ile-ife like the other tribes cannot be lightly set aside. In the same way the secluded nature of the country they now inhabit shows that the story of the twin origin of Osemawe cannot be discarded as groundless.One point which causes difficulty to many people is the question of how the custom of killing twins came to be prevalent among the Ondos, who claim to have descended from one of the twin children. The explanation is that it was not the Ondos but the people known as the Idokos who carried on this wicked practice, until Governor Carter with Captain Bower put an end to it about the Year 1892.
