Ìpera-ẹni-níjà nínú Ìṣeré Orin Agbè

Self-Defense in the Music of the Tribe

Resumen

ÀṢAMỌ̀

Ọ̀kan nínú orin kóríyá láàárín àwọn Yorùbá Ọ̀yọ́ ni orin agbè jẹ́. Orin agbè jẹ́ orin ogun, a sì máa ń kọ ọ́ ní ààfìn àwọn Ọba Ọ̀yọ́, àgbàlá àwọn jagunjagun àti ibi ayẹyẹ lóríṣiríṣi. Torí pé orin agbè jẹ mọ́ agbaja ṣíṣe púpọ̀, àwọn òṣèré rẹ̀ máa ń pe ara wọn níjà kí adùn eré náà le hànde. Ìwádìí yìí yàn láti ṣe àgbéyẹ̀wò ọ̀nà tí àwọn ọ̀kọrin agbè máa ń gbà pe ara wọn níjà lásìkò eré. Tíọ́rì ìlò-àmì nínú ewì ti Riffaterre (1978) ni a ṣe àmúlò fún àtúpalẹ̀ détà. Àwọn ìṣeré orin agbè tí a gbà sílẹ̀ ni détà àtúpalẹ̀ iṣẹ́ ìwádìí. A ṣe àmúlò àwọn ọnà-ẹnu Yorùbá mìíràn láti ṣe àlàyé détà iṣẹ́-ìwádìí yìí jìnlẹ̀. Àbájáde ìwádìí fi hàn pé àwọn òṣèré orin agbè máa ń pe ara wọn níjà nínú agbè lílù, orin kíkọ, ìṣeré ojúlówó, ijó jíjó/òkìtì títa/idán pípa fún ìdárayá, níní ìgboyà àti àmúlò òògùn ìkà fún ogun jíjà. Ìwádìí tún fi hàn pé ìpèra-ẹni-níjà àti kóríyá gan-an ni kókó pàtàkì tó ṣe okùnfà ìgbéǹde ìṣeré orin agbè. Ìdí sì nìyí tó fi jẹ́ pé láàárín àwọn jagunjagun Ọ̀yọ́ Ilé ni orin náà ti bẹ̀rẹ̀. Iṣẹ́ yìí tún fi hàn pé ìṣeré orin agbè jẹ́ ọ̀nà-ìdẹ́rùbọ́tá lójú ogun. Ìwádìí jẹ́ ká mọ̀ pé lára ìdí tí orin agbè kò ṣe tí ì parẹ́ di àsìkò yìí ni pé ó jẹ́ orin agbaja fún àwọn ènìyàn Ilé Gbọ̀ńkáà ní Igbó-Ọrà, Ìbàràpá àti pé ó jẹ́ orin ọba Onímia, Ìmià Òkè-Ògùn, Ìpínlẹ̀ Ọ̀yọ́.

******

Orin agbè is one of the songs of stimulation among the Yorùbá people of Ọ̀yọ́. It is a war song, also sung at the palace of the kings of Ọ̀yọ́, compounds of warlords and social ceremonies. Because orin agbè is full of stimulation, its performers challenge one another to realise the full aesthetics of the song. This study appraises how the performers of orin agbè challenge one another during its performance. Riffaterre’s (1978) semiotics of poetry is employed for data analysis. The study's primary data are the recorded videos of the performances of orin agbè. Some other Yorùbá oral genres are employed for critical analysis of research data. The study reveals that the performers of orin agbè challenge one another in agbè instrumentation, song rendition, quality performance, dance styles/acrobatic and magical displays for entertainment, courageous stimulation and use of baleful charms at battle-field. The study also reveals that challenging and stimulating one another are the main reasons behind the performance of orin agbè. That is the reason the song was originated among the Old Ọ̀yọ́ warlords. It is also revealed in the study that orin agbè is a way of scaring enemies at battle-field. The study explicates that among the factors that have contributed to the sustenance of orin agbè is its use as a song of amusement among the people of Gbọ̀ńkáà’s household at Igbó-Ọrà, Ìbàràpá and also the song of the King Onímià, Ìmià town in Òkè-Ògùn, Ọ̀yọ́ State, Nigeria.