Traditional Songs of Ìlọrin: Enacting Identities, History, and Cultural Memories

Ìlọrin is a distinct community and a melting pot where people of diverse ethnic and cultural identities came together to form a settlement in the 17th century. These ethnic groups include Yorùbá, Haúsá, Fúlàní, Núpé, Kànnìké, Kéńbérí, Bàrùbá, and Malians¸ Arabs, among others. However, despite these ethnic and cultural diversities of Ìlọrin and the Fúlàní political hold on it, Yorùbá language is the lingua franca of the community. How these ethnic groups fnd their voices and articulate their historical and cultural identities within this unified framework becomes a source of concern. As a response to this concern, traditional songs of Ìlọrin like dàdàkúàdà, bàlúù, agbè, wákà, kèǹgbè, orin ọlọ́mọ-ọba Ìlọrin, among others sung in Yorùbá language become a site of contestation of ethnic and cultural identities. Te focus of this essay is to analyze Ìlọrin traditional songs as they portray and contest ethnic identities, reconstruct history, and revitalize cultural memories of indigenes. The paper argues that given such a diverse ethnic and cultural origins, performance of Ìlọrin traditional songs become a reminder of family histories, origins, political structure, hegemonic influences, myths, legends, Islamization of Ìlọrin, and a way of ensuring harmony and bridging generational gaps among the various groups in a state that is known as the “State of Harmony”.

INDIGENOUS LIVESTOCK MANAGEMENT SYSTEM IN EGBA ZONE OF OGUN STATE, NIGERIA

This study assessed the management of indigenous livestock in Egba zone of Ogun State using one hundred and forty four farmers and twenty Village Extension Agents. Data were collected with interview schedule and questionnaire respectively. The study revealed that indigenous livestock farmers were of average age of 48 years, mostly (77.8%) native of these communities sampled and literate (63.2%), more female (58.3%) and they were not cosmopolite (83.3%). Poultry, sheep and goats are mostly kept by indigenous livestock farmers, followed by cattle and pig, snail and rabbit by a few farmers. Most (66.7%) farmers raised their livestock on free range while few provided feeding and housing for their animals. Local materials were used for feeding, housing, and ethno-veterinary care for animals. Livestock farmers earned an average of twenty one thousand seven hundred and fifty naira monthly from their animals. The materials livestock farmers used included pawpaw seeds for deworming, lime and sandpaper leaf to control lice, sulphur, lime and palm oil to control mange; Iyeye leaves [Spondia mombin] for treatment of diarrhea in ruminants. Communication methods used in the diffusion of ethno-veterinary practices were town criers, traditional songs and festivals, folk tales, use of signs and symbols, life dramas and face-to-face interpersonal media while the sources of information were extension agents, community leaders, fellow farmers, neighbours, livestock traders, and farmers` union. Most important information came from fellow farmers. Indigenous livestock farmers should be involved in research and extension planning and regular visits to farmers by village extension agents is recommended.

‘The best English-Irish poetry before Yeats’

‘[T]he best Irish-English poetry before Yeats’: thus, in The Listener in 1970, John Holloway described a genre of exuberantly worded songs that employed complex patterns of rhyme deriving from Irish language poetry, many of which were among the nineteenth-century ballad sheet collections of Sir Frederic Madden, held in Cambridge University library. Items in this form seem to have surfaced in the mid-eighteenth century, soon after the appearance of the earliest eight-page songbook to be printed in Ireland, and probably the first anywhere in the ‘British Isles’. This essay traces the development of this genre towards, perhaps its finest manifestation, the luxuriously florid bawdry of ‘The Cuckoo’s Nest’, probably composed by the northern-born but Drogheda-based weaver poet John Sheil (c.1784–1872). Many commonly known and apparently innocuous traditional songs are found as bawdry in early collections and employ a range of sexual metaphors, well understood at that time among men but not (openly) among women or more recently. The combination of verbal flourish and double entendre together with a consummate control over the complexity of rhyme and rhythm forced John Holloway to recognize vernacular verse as, not a debased version of ‘educated’ poetry, but as a genre with its own standards, a parallel form that bears comparison at a high level.

Leslie Marmon Silko’s “Lullaby”: A Pantheistic View

This study highlights the pantheistic perspectives of the Native American society depicted in Leslie Marmon Silko’s short story “Lullaby”. The protagonist’s divine and strong attachment to the objects of the natural world emboldens her to face several dangers in her life. The dominant ways of the Western world lead the central character Ayah into complete chaos. But the superior power of nature forces her to face internal and external struggles. She never curses her fate but tries to move with the ways of the world, tells readers about her willingness to be assimilated into an alien culture and retains her faith in nature and its objects. Nature acts as a guiding light in her life. She lives her life by singing traditional songs. The ideas discussed in the study are socially significant in the current century because we can see how man tries to ignore power of nature and how his unnatural ways disrupt the balance of our natural world.

Tingkat Kesulitan Dinamis Menggunakan Logika Fuzzy pada Game Musik Tradisional Jawa Tengah

The culture in Indonesia is very diverse, one of which is traditional songs. However, knowledge of traditional songs is still small. Digital Games can spread knowledge about traditional songs, one of which is Central Javanese traditional songs. However, the Game that is made still has static difficulties, so the Game cannot follow the player's ability, resulting in the player feeling bored and not wanting to continue the Game. To generate dynamic difficulties, methods in artificial intelligence can be applied to Games, one of which is Fuzzy. So in this study proposed the application of dynamic difficulties using Fuzzy Logic in music Games / Rhythm Games. Fuzzy Logic is built based on mathematical values and represents uncertainty, where this logic imitates the human way of thinking. Fuzzy Logic can convert crisp input values into fuzzy sets by performing fuzzification. After the input value is converted, the input will be entered into the set of rules provided. Each rule produces a different output. After the process is complete, the output value will be converted back to the crisp output value. Based on the research conducted, it is found that Fuzzy Logic can be applied to music Games where the Game can follow the player's ability based on the given rules.

Cultural values in sangihe ethnic song lyrics "masamper": an anthropological linguistic study

This research focuses on traditional songs of ethnic community Sangihe Masamper that are usually performed in religion and or traditional ceremony, the problems discussed are what the expressions are used and what cultural meanings and values are included in those expressions. The objectives of this research are to describe: 1) the expressions, 2) the cultural meanings and values used in the songs of Masamper. The data are analyzed by using the theory of Koentjaraningrat (1979), Givon (2009) Fraenkel (1977), Kridalaksana ( 2008), and Pei and Gaynor (1980 ). The result of research are the expressions of the songs consist of Mawu, Ruata, Gengghona, Ghenggona, Langi, (God), anau sembau, Ku abe gagholokang’u u’waling liaghang gatinu, maning nahiu u pulangeng kai supato we senggesa-dedorongang mang sehimaneng kuhae ure mesasigesa, pirua, tembonang kawanua, Sangihe I kekendage, su pedarame and inang I amang. The cultural meanings are respect and honor to God, tight relationship, advice, work together, sympathy, respectfulness, admiration, togetherness, and honor. The cultural values are belief, brotherhood, education, unity, love, obedience, love homeland, and harmony. From the research, it can be concluded that the research needs to be carried out such as things that relate to sasasa (advice), more complete of Masamper.

Konstruksi Perempuan Dalam Lagu-Lagu Berbahasa Sasak: Studi Analisis Wacana Kritis Norman Fairclough

This study purposed to explain the women’s construction in Sasak traditional songs according on Nourman Fairclough's critical discourse analysis with an analysis focus on three aspects, namely text structure, discourse practice, and sociocultural practice. This research is a qualitative descriptive research. Data were collected using observation and interview methods. The results of the research on the structure of the text construct women as bebalu 'widow' and dedare 'girl'. Bebalu is constructed as a woman who is weak, suffering, the material for gossip, no self-awareness, awry, easily fooled by men, the object of ridicule. get married quickly, favored by men, thickly dressed, slut, like to divorce, likes to be ogled and seduced by men, likes to dress up, and easily moving on. Meanwhile, dedare is constructed as a woman who likes someone's husband, mistress, unfeeling, selfish, and a love slave. The discourse practice dimension of the production process, male dominance in the Sasak music industry provides flexibility in constructing women from a male perspective and commercial factors require the music industry to create songs that are loved by the public. Meanwhile, the process of consuming texts by fans of Sasak songs accepts and considers what is constructed in the song as something that is in accordance with reality, natural, and entertaining. In terms of sociocultural practice, patriarchal cultural factors and high public interest provide space for the music industry to be bolder in producing gender-biased songs.

Folk dance as a tool of socialist propaganda based on Paweł Pawlikowski’s Cold War

The article addressed the issue of using folk dance as a tool of propaganda by the communist party. It is not uncommon to associate the activity of folk groups with the period of socialist realism and the years that followed in. Folk song and dance ensembles have always been a colorful showcase of the country outside of its borders and have often added splendor to distinguished national events with their performances. Nevertheless, their artistic activity was not motivated solely by the beauty of Polish folklore, for folk ensembles formed after World War II were often created to aid the goals of the communist party. Reaching for folk repertoire and transferring regional songs and dances to the stage was seen as opposition to the elite culture. Cultural reform made performances accessible to the working class, and folk song and dance expressed admiration for the work of people in the countryside. In addition to traditional songs from various regions of Poland, the repertoire of these ensembles also included many songs in honor of Stalin and about the Polish-Soviet friendship. Paweł Pawlikowski’s award-winning film, Cold War, which partially follows a song and dance ensemble (aptly named Mazurek), shows many of the dilemmas and controversies that the artists of this period had to face.

MAKE A MAS MAS TOURIST VILLAGE INDEPENDEN WITH ACCOUNTING EMKM APPLICATION

Lunching on the establishing and developing “a thousand villages’ destinations” is possible due to the unique potential “resources”, such as local languages, literature opuses, traditional songs and dances, high value of handicrafts, certain unique and nature production modes, the available of beautiful unique cultures, challenging with its historical background, sacred places and identified with spirituality. These potencies can support the establishing and developing “a thousand villages’ destinations”. For the sake of practice on finding out and evaluating villages’ potencies which can be established to be villages’ destinations. The establishment and development made suite to stakeholders. Therefore, useful common accountant knowledge is going to be introduced in hope that it could be used to make standard report, control and make decision, and develop business. Despite promoting through global internet, the establishing and developing can also be done by having competition on destinations’ packet. It is made and suited with other destinations so that it could create more innovating and interesting products of destinations’ packet.

Ethnoaesthetics of the Ukrainian folk song tradition in the performance of the singer Oksana Mukha

The topicality is associated with the need for musicological understanding of the value categories of ethnoaesthetics in the creative activity of singers that represent the Ukrainian folk song tradition in modern variety vocal art. The purpose of the article is to identify ethno-aesthetic value components in the performance of O. Mukha as a personification of the uniqueness of the Ukrainian national expression. The methodology consists of scientific works of prominent Ukrainian scientists devoted to the study of ethno-aesthetic ideas and criteria in the traditional songs of Ukraine (Y. Harasym, T. Orlova, V. Lychkova), as well as genre-style and performance specifics of Ukrainian musical folklore (K. Kvitka, F. Kolessa, A. Ivanytskyi, S. Hryts). The results. The artistic imagery of the iconic folk songs of O. Mukha repertoire, which is a part of the ethno-aesthetic fund of the Ukrainian folk song tradition, is considered. The general features of ethnoaesthetics of the folk song performing tradition of Ukraine, including its vocal and technical component are outlined. The novelty. The article considers the performance of O. Mukha for the first time and reveals ethnoaesthetic value components in it. The practical significance. The study of the essence of folk singing as an art with its own artistic and value component, based on an established system of qualitative components of ethnoaesthetics, as well as the study of performing experience of prominent Ukrainian folk singers are the necessary practical material for creating a scientific basis and general methodology of folk vocal art. The conclusions. Musical ethnoaesthetics as a component of traditional culture covers the semantic field of songs, concentrating on the structure, rhythmics and size of a poem, the richness of national melos, its intonation and tonality basis. Ethnoaesthetics of the folk song tradition of Ukraine is manifested in the uniqueness of the national expression, namely: vocal-timbre color of sound, in the peculiarities of intonation, freedom of metro-rhythmic movement, variability and melismatic richness. In O. Mukha’s works, the creation of the sound matter of the modern performance version of a folk song is based on the perception of song intonation as sound emotion and understanding of the boundless ocean of ancient symbols of the national musical language, which during centuries has crystallized in the folk song tradition. Her works grow out from the reflection on the national song culture and traditions of her family. Work on each ancient relict of tradition is based on discovering the potential of the power of its aesthetic, spiritual and emotional impact on listeners, perception of the stock of expressive possibilities.