IPILE YORUBA MOVIE

Also, with the emergence of the Internet, websites and listserves on African traditional religions and cultures and the issue of inculturation have been created, and are being moderated by Catholic priests, one interesting case being that of http: There are already numerous published information on Yoruba spiritual life, so I would not be attempting any detailed exploration here. In Agbara Oro, produced by Ipile Rere Evangelical Ministry, Akure, we are shown the disasters that befall Mr Oloojegi, a banker, because of a curse placed on him by his own father. It is precisely this incessant doubleness, this unwillingness to live through and inability to shake the ambiguity of reference and influence which makes the African postcolony postmodern. Department of English, University of Ibadan, Nigeria. 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.

Generally, video film making in Nigeria today has been informed by the quest for money. In other words, Christianity already recognises her need for African culture, which is inextricably tied to traditional African religions, and culture cannot be ignored because it reflects the feelings and thinking patterns of a people, or as Shorter n. A deluge of films followed. Indigenous imagination is part of the epistemology of a people, which is acquired along with other aspects of culture. Are there specific ways in which the indigenous frames transform, and are transformed in, the semiotic space of self and other-word? First, Akoba leads him into killing a goat with his car but the goat is transformed into a young girl and he is charged with murder. If seeing is believing, then the video becomes a more effective means of not just hearing God, but seeing Him in action.

It appears to suggest omvie one Nigerian Christian singer, Chuks Ofojebe, who has adopted South African musical styles, would say in one of his recent songs: Even the works of the Nobel Laureate, Wole Soyinka, is shot through with mysticism and spirituality, sometimes as artistic means of reading contemporary Nigerian society.

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 yorbua 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.

Omo Aye Lomo – Yoruba Movie (II of II)

Are there specific ways in which the indigenous frames transform, and are transformed in, the semiotic space of self and other-word? I should think that there are stronger aesthetic and conceptual imperatives that necessitate the incorporation of indigenous non-Christian imaginations. How are they utilized in the narratives?

I;ile spell on Oloojegi as later broken iiple he is prayed for by a Christian group. Precisely, I will be attempting to show that the difference between Christian and indigenous imaginations is being re-imagined in the Nigerian ilile. His investment was a mere N2, and he made hundreds of thousands back [ Indigenous imagination is part of the epistemology of a people, which is acquired along with other aspects of culture.

But his privileging of the Christian Word is challenged in the video narratives by cases of revocations of curses. Arnold, in the work, eventually settled in favour of the dialogic model. Four times this child had its evil round.

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There is also an emerging binary structure in which the Christian ized word is placed at the positive pole.

yoruuba But it should be noted that the reconstructive project which Christian video narratives are carrying out on oro is not new; there have always been, in the Nigeria context of cultures, a recognition that cursing and other negative uses of oro, especially in interactions between parents and their children, could have psychological and spiritual repercussions. In most cases, it is simply a problem of poor video-making skills on the part of some Nigerian Christian video film producers.

In the traditional understanding, therefore, one who claims to be unfortunate remains unfortunate.

First, Akoba leads him into ipil a goat with his car but the goat is transformed into a young girl and he is charged with murder. Plan The Background Issues. In Agba woli, the operation of these marine spirits have been associated with Aladura groups—which, incidentally, perform some of their rituals in rivers, lakes, streams, and at seasides, as one can easily notice at the Barbeach in Lagos. Such spirits feature, regularly in Christian soap opera, for instance in Omoge Omi Daughters of the River.

He is again picked up by ipkle police for this iile. In other words, Christianity already recognises her need for African culture, which is inextricably tied to traditional African religions, and culture cannot be ignored because it reflects the feelings and thinking patterns of a people, or as Shorter n.

If seeing is believing, then the video becomes a more effective means of not just hearing God, but seeing Him in action.

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

There are, of course, several Yoruba Christian video films in Nigeria, but my choice of the four mentioned above has been mlvie by the special way the films engage indigenous imaginations. So, one could say that the reinvention of oro in these video films has been informed by the double consciousness of movje Nigerian Christian. These spirits would therefore try to execute and actualize our utterances. First, it should be noted that the Yorubas are a very religious people, with a deep sense of the intervention of the supernatural world in human affairs.

They believe that incantations of the Ifa are very powerful.

Basically, the resistance has arisen from the perception of the Christian Word as the strange way: One relates to the fact of its divine origin. 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.

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. Indeed, in many kpile cultures novie Nigeria, thought is perceived as not just the origin of verbal expression but also as potent communication itself.

They are therefore frameworks of knowledge that condition behaviour. In Agbara Oro, produced by Ipile Rere Evangelical Ministry, Akure, we are shown the disasters that befall Mr Oloojegi, a banker, because of a curse placed on him by his own father. Generally, video film making in Nigeria today has been informed by the quest for money. But more importantly as in Oro Ahon, dream revelations, which enhance the rhetoric of the potent Oro, internally function as means of persuasion, first as in the relationship of the video narrative to the Nigerian audience, an appeal is made to a suspension of disbelief of the Christian Word.

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Hence, many Yoruba Christians find it difficult to deny the roles of these forces in a world where good and evil are perpetually in conflict. Many Christian preachers in Nigeria have emphasized the potency of speech, and the need for positive talking in Christian discourses. One example of such poverty of skill could be seen in Obododimma, a Christian video iipile made by some one-time schoolmates of mine in Calabar, Nigeria.

As demonstrated in the speech acts of cursing and blessing in Agbara Oro and Oro Ahon the spoken word sets into motion a goruba of spiritual ipike as it is believed in the traditional Nigerian context mostly that human interactions are attended to by spirits—both the good and the bad.

These are particularly characterized by the tendency of their producers to look outside the iplle imaginative frameworks of the Christian performance of the Christian Word. This displeasure is often expressed in Pentecostal groups such as the Deeper Life Bible Church and New Covenant Church, with the consequence that some members begin to see the video films and the television as instruments of the Anti-Christ.

This child had been declared an Ogbanje, plaguing its mkvie by dying and entering her womb to be born again. As I have stated, this implied meaning of the revocation ritual challenges the dominant voice of the Christian Word, and is eloquent.

Thus some persons may use voodoo for protective purposes, even though some may want to do harm with it. One traditional healer whom I once visited, being my kinsman, had a Bible in his shrine. Recognized by the papacy, this rite, which involves holding Christian worship in familiar African ways, has been experimented iiple with upile success in Nigeria by the Dominican Community at Samonda, Ibadan. In a movue, the localization of the spirit is a familiarization strategy; just as religious beings—even God himself—are imagined from familiar frames.

What is considered more important is the message, while the ipiel of pleasure is viewed as capable of misleading the audience, or distracting them from the message, the Word.

It is necessarily a setting aside of the traditional African practice of speaking as being diabolical or being susceptible to satanic influences.

God in The Holy Bible, for instance, is anthropormorphized and masculinized and in Christian visual art further imagined as an old man with long heard.

The paper argues that the ambivalence of the Christian ipi,e rhetoric nevertheless enables the Christian text to reinvent itself as a travelling movke reproductive text. As I have observed elsewhere, the feminization of these spirits may reflect insensitivity to gender politics Oha a: Very movir in contemporary Christian video films in Nigeria are such evil spiritual forces as marine spirits or water spirits.

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.