OrÃÂkì, or praise poetry, is a cultural phenomenon amongst Yoruba-speakers of West Africa.
OrÃÂkì includes both single praise names and long strings of âÂÂattributive epithetsâ that may be chanted in poetic form. According to the Yoruba historian Samuel Johnson, oriki expresses what a child is or what he or she is hoped to become. If one is male, a praise name is usually expressive of something heroic, brave or strong. If one is female, the praise name may be a term of endearment. In either case, the Reverend Johnson said that it was intended to have a stimulating effect on its bearer.
Because of the variety of performance modes, orÃÂkì defies classification as music or poetry, and it has been studied from both perspectives. Historically, orÃÂkì was delivered by a specialist in a particular vocal style. For example, ìjálá is acoustically open and intense, while ewì is spoken in a high-falsetto, wailing voice quality. According to Waterman, âÂÂThe words that placate gods and drive kings to suicide [are] made more potent by the patterning of timbre, texture, pitch, and rhythm.â According to Vidal, Yorùbás have orÃÂkì for âÂÂalmost everything . . . even foodâÂÂ.
The orÃÂkì varies in length depending on whether it is the name given to a child to describe the future portents of the life or a recital of the accomplishments of a person's clan. It is invoked to praise a child for bringing pride to the parents or to attempt to evoke virtuous character traits of bravery, fortitude and perseverance that are believed to be innate in a person by pedigree.
It is not always clear what was pre-eminent in the mind of the person who named a child with the shorter praise name. Predetermined names based on the circumstances of birth are called OrÃÂkì ṣókÃÂ, such as the names for twins: Táiyé and KẹÃÂhìndé. Traditionally, a boy born with the umbilical cord around his neck is called ÃÂjó (there are exceptions; the Ijebu subculture names a boy or girl ÃÂìná), but the name ÃÂjó has praise poetry that does not even mention that but implies that the child would be the darling of ladies and might be a little impatient.
Praising gods and mortals has traditionally been the focus for singers and the most engaging for audiences, whether the tone is persuasive or controversial. Nigerian politicians often hire well-known singers to elaborate on their heritage. Today, Nigerian Christians and Muslims use oriki to praise sing for the Abrahamic god. They may pray for salvation if they hear the praise of indigenous Yorùbá gods such as ÃÂgún because many of them believe that traditional Yorùbá deities are demonic. Nigerian-American author Luvvie Ajayi wrote in her book that she has written long form orikis for several notable people that she admires. Ajayi urged that people should have an oriki regardless of skill or notability, with self-love being seen as beneficial to having an oriki.
Examples of orÃÂkì names and their meanings (F or M indicates whether the name is usually female or male):
Usually, a family derives its surname from a strong, accomplished patriarch or matriarch, and it is common to find the latter's accomplishments recited in the longer version of the orÃÂkì of all progeny. An excerpt from praise poetry for the name ÃÂjó would be:
Another particularly fine example of an excerpt from a family's oriki is that of the Supreme Court justice Kayode Eso:
This excerpt highlights Justice Eso's descent from the famous Eso Ikoyi warriors of the medieval period.