IPILE YORUBA MOVIE

So I opened my mouth, and he gave me the scroll to eat. His father, who is non-literate, visits him at his place of work from the village. As Ayo Opefeyintinmi But there are aspects of Yoruba life and culture one needs to note in looking at these video films. What forms of these indigenous imaginations gain entry into the Christian video film narratives? Films in Nigeria are, unfortunately, still kept outside the school curriculum except in departments of theatre arts where they are strange newcomers , even when they dialogue with social and written discourses.

More traditionally, one may perhaps find in the works of Amos Tutuola and D. But there are aspects of Yoruba life and culture one needs to note in looking at these video films. In the Africanized catholic mass which I participated in, indigenous religious semiotics were dominantly utilized: His investment was a mere N2,, and he made hundreds of thousands back [ One example of such poverty of skill could be seen in Obododimma, a Christian video film made by some one-time schoolmates of mine in Calabar, Nigeria. But his privileging of the Christian Word is challenged in the video narratives by cases of revocations of curses.

They believe that incantations of the Ifa are very powerful. One Yoruba Christian informant narrated to me the experiences of some individuals with respect to the uses of Oro in harming or healing people. Thus a critique of the video narrative essentially demands a strong reference to context—to the people who are the main consumers of the video narratives for whom these beliefs are a cultural given.

He is again picked up by the police for this offence. But his privileging of the Christian Word is challenged in the video narratives by cases of revocations of curses. Four times this child had its evil round.

Iberubojo- Latest Yoruba Nollywood Movie | Tiwani movies | Pinterest | Movies

One relates to the fact of its divine origin. As Ayo Opefeyintinmi Attention is also drawn to the importance of the cultural knowledge transmitted through these films, which are yet to be fully accommodated in the school curricula in Nigerian schools, even when such knowledge is very crucial for the pursuit of tolerance in the plural postcolonial Nigeria.

How are they utilized in the narratives? Also, with the emergence of the Internet, websites and listserves on African traditional religions yoruga cultures and the ylruba of inculturation have been created, and are being moderated by Catholic lpile, one interesting case being that of http: So, one could say that the reinvention of oro in these video films has been informed by the double consciousness of the Nigerian Christian.

  ELDAMAR EPISODE 2

They are also played at Christian revival rallies as complements of sermons. In most cases, it is simply a problem of poor video-making skills on the part of some Nigerian Christian video film producers.

Thus Jesus Christ in the postcolonial Nigerian context becomes an unstable sign, crossing imaginative boundaries and freed from its singular meaning in the Christian Wor l d.

Even the works of the Nobel Laureate, Wole Movle, is shot through with mysticism and spirituality, sometimes as artistic means of reading contemporary Nigerian society. What forms of these indigenous imaginations gain entry movi the Christian video film narratives? Few of the actors were paid anything at all.

The curse lifted, her daughter-in-law is able to conceive and bear a child later. Studies on interreligious and intercultural discourses in Africa obviously would find these films very useful, especially in terms of the appropriation of new electronic technologies in engaging religious and cultural issues in the postcolony.

A person drenched by this drizzle of rain, as in the case of Oloojegi, has tasted suffering in full measure. I should think that there are stronger aesthetic and conceptual imperatives that necessitate the incorporation of indigenous non-Christian imaginations.

A deluge of films followed.

Auteur Obododimma Oha Haut de page. He explained that he kept the book because he saw himself as a Christian, and that it was God who was his guide and patron of his powers.

The Christian symbols and objects, such as the crucifix, the paintings of Christ, Virgin Mary, and the angels of God, are visual narratives of the religion which in the possession of the traditional healer, become recontextualized and transformed into meanings that are neither Christian nor indigenous; in other words, resisting identification within a cultural parole. He thinks that his son has become very wealthy and so is giving out money out of charity. Christianity has fully appropriated the New Media, including the Internet Essin enhancing its capacity to recreate and disseminate the Word of salvation.

There are, of course, several Yoruba Christian video films in Nigeria, but my choice of the four mentioned above has been informed by the special way the films engage indigenous imaginations. Indigenous imagination is uoruba of the epistemology of a people, which is acquired along with other ipilf of culture. All the Pentecostal and orthodox Christians I interviewed believed that voodoo power is not just a joke as might be supposed, but is a satanic force that must be destroyed, but they also claim that, if one is genuinely in Christ, one becomes invulnerable to voodoo attacks.

  BATTLE SPIRITS SHOUNEN GEKIHA DAN EPISODE 1 SUBBED

Arnold, in the work, eventually settled in favour of the dialogic model. It is necessarily a setting aside of the traditional African practice of speaking as being diabolical or being susceptible to satanic influences.

Apart from using the frames the consumers are familiar with to explain and teach what they are unfamiliar with, the video narratives tend to reinforce the indigenous frames of knowledge. yorbua

I will first discuss briefly yorbua context of Christian video making in Nigeria, as a way of showing its subversion and accommodation of indigenous imaginations. It should also be noted that many Christian missionaries and theologians have been on the vanguard of the development of African languages and cultures.

Edited with an introduction by J.

Navigation

This child had been declared an Ogbanje, plaguing its mother by dying and entering her womb to be born again. Indeed, there is much validity yorjba the claim made by Mbiti His father, who is non-literate, visits him at his place of work from the village.

Such spirits feature, regularly in Christian soap opera, for instance in Omoge Omi Daughters of the River. The use of the revocation ritual appears to be a way of suggesting that indigenous practices are not entirely evil as supposed in puritan circles. But there are aspects of Yoruba life and culture one needs to note in looking at these video films. One traditional healer whom I once visited, ipie my kinsman, had a Bible in his shrine.

In other words, both must aim at having a common life, and not necessarily to be imagined, as Shorter n. Fagunwa more interesting representations of Yoruba sense of the relationship between the secular and the spiritual. Many Christian preachers in Nigeria have emphasized the potency of speech, and the need for positive talking in Christian discourses.

As I have stated, this implied meaning of the revocation ritual challenges the dominant voice of the Christian Word, and is eloquent. It yoryba a sense of the new as an insurgent act of cultural translation. This explains the representation of the voodoo practices carried out by yoriba highly educated Nigerians in the ipipe as being, beyond doubt, mysterious but actual causes of death and illness.