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.
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Endnotes
Andrew Apter (1992) Black Critics and Kings: The Hermeneutics of Power in Yoruba Society (Chicago: University of Chicago Press), p. 117.
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.
Rowland Abiodun (1994) ‘Understanding Yoruba Art and Aesthetics: The Concept of Ase’, African Arts 27.3, 76.
Emmanuel Eze (1993) ‘Truth and Ethics in African Thought’, Quest: Philosophical Discussions: An International African Journal of Philosophy 8.1, 9.
Babatunde Lawal (1996) The Gẹ̀lè́dẹ́ Spectacle: Art, Gender, and Social Harmony in an African Culture (Seattle: University of Washington Press), p. xiv.
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.
Alhaji Shagari (1979) ‘Inaugural Address,’ www.dawodu.com, accessed 30 August 2014.
Olusegun Obasanjo (1993) Hope for Africa: Selected Speeches of Olusegun Obasanjo (Ibadan: ALF Publications), p. 191.
Femi Osofisan (1995) The Oríkì of a Grasshopper and Other Plays (Washington, DC: Howard University Press), p. 130.
Sandra L. Richards (1996) Ancient Songs Set Ablaze: The Theatre of Femi Osofisan (Washington, DC: Howard University Press), p. xv.
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© 2015 Glenn Odom
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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
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DOI: https://doi.org/10.1057/9781137492791_2
Publisher Name: Palgrave Macmillan, London
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