Skip to main content

A Critique of Yorùbá Judgment: Individual Authority, Community Creation, and the Embodiment of Àṣẹ

  • Chapter
Yorùbá Performance, Theatre and Politics
  • 92 Accesses

Abstract

Andrew Apter argues that the expression of Àṣẹ , which roughly translates as ‘authority,’ is ‘the most profound and most difficult stage of entry into Yoruba culture.’1 Indeed structures of authority emerge across discourses, making it a core concern for Ìfọgbọ́ntáayéṣe:. Àṣẹ defies definition, but in simplest terms it refers both to the mechanism by which authority is conferred on a person or an object and the mechanism by which that person or object demonstrates its power: the line between possessing and enacting authority is a slender one. Àṣẹ as related to form is the concept that authority has a specific context in which it must be enacted; that this context is related to metaphysical sources of Àṣẹ ; that, despite this metaphysical connection, form cannot confer authority without audience interaction; and that certain forms are more associated with authority than others.

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

Chapter
USD 29.95
Price excludes VAT (USA)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever
eBook
USD 84.99
Price excludes VAT (USA)
  • Available as EPUB and PDF
  • Read on any device
  • Instant download
  • Own it forever
Hardcover Book
USD 109.99
Price excludes VAT (USA)
  • Durable hardcover edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info

Tax calculation will be finalised at checkout

Purchases are for personal use only

Institutional subscriptions

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

Endnotes

  1. Andrew Apter (1992) Black Critics and Kings: The Hermeneutics of Power in Yoruba Society (Chicago: University of Chicago Press), p. 117.

    Google Scholar 

  2. Femi Osofisan (1998) ‘“The Revolution as Muse”: Drama as Surreptitious Insurrection in a Post-colonial Military State’, Theatre Matters, eds Richard Boon and Jane Plastow (Cambridge: Cambridge University Press), pp. 11–35, 11.

    Chapter  Google Scholar 

  3. Rowland Abiodun (1994) ‘Understanding Yoruba Art and Aesthetics: The Concept of Ase’, African Arts 27.3, 76.

    Article  Google Scholar 

  4. Emmanuel Eze (1993) ‘Truth and Ethics in African Thought’, Quest: Philosophical Discussions: An International African Journal of Philosophy 8.1, 9.

    Google Scholar 

  5. Babatunde Lawal (1996) The Gẹ̀lè́dẹ́ Spectacle: Art, Gender, and Social Harmony in an African Culture (Seattle: University of Washington Press), p. xiv.

    Google Scholar 

  6. Olusegun Obasanjo (1978) A March of Progress: Collected Speeches of His Excellency Lt General Olusegun Obasanjo (Lagos: Federal Ministry of Information/Third Press International), p. 1.

    Google Scholar 

  7. Alhaji Shagari (1979) ‘Inaugural Address,’ www.dawodu.com, accessed 30 August 2014.

    Google Scholar 

  8. Olusegun Obasanjo (1993) Hope for Africa: Selected Speeches of Olusegun Obasanjo (Ibadan: ALF Publications), p. 191.

    Google Scholar 

  9. Femi Osofisan (1995) The Oríkì of a Grasshopper and Other Plays (Washington, DC: Howard University Press), p. 130.

    Google Scholar 

  10. Sandra L. Richards (1996) Ancient Songs Set Ablaze: The Theatre of Femi Osofisan (Washington, DC: Howard University Press), p. xv.

    Google Scholar 

Download references

Author information

Authors and Affiliations

Authors

Copyright information

© 2015 Glenn Odom

About this chapter

Cite this chapter

Odom, G. (2015). A Critique of Yorùbá Judgment: Individual Authority, Community Creation, and the Embodiment of Àṣẹ. In: Yorùbá Performance, Theatre and Politics. Palgrave Macmillan, London. https://doi.org/10.1057/9781137492791_2

Download citation

Publish with us

Policies and ethics