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Author(s): Oluwadoro Jacob Oludare (PhD).

Volume/Issue: Volume 3 , Issue 1 (2021)

Abstract:

The Yoruba people are well-known for their ability to make use of songs and chants for different purposes. This is why many scholarly works have been done on the use of songs and chants in traditional and religious activities. However, very little has been done on the use of such for political activities, especially as projected in films. This paper is aimed at filling this gap by examining the use of songs and chants for political satire, with particular reference to Akinwumi Ishola’s Agogo Eewo as adapted by Tunde Kelani in his film. The theoretical framework used for the analysis of this work is an adaptation of Fishman’s definitional template of sociolinguistics as the study of ‘who’ says ‘what’, ‘to whom’, ‘when’ and ‘to what end’, as well as Dell Hymes’ ethnographic theory summarised in the acronym ‘SPEAKING’. Twelve songs and three chants were selected for analysis in the film. The first two songs were used by Elder Opalaba, the wise man in the palace to mock the dubious and shameful practices of the politicians in secret and their perpetual effects on the masses. Two were used by Amawo to condemn the corruption of the politicians as they loot the treasury of Jogbo and assure them of nemesis. One was rendered by Bashira to mock Baba Sesan for his habit of polishing and garnishing his car with pride. The next one was used by the chiefs to congratulate Bosipo on his ascension to the throne. One was used to protest against king Bosipo for the failure of his government to entertain the people of Jogbo at his coronation, not minding the fact that the people paid for that. Another one was used by thugs hired by Chief Balogun to disrupt the oath-taking ceremony. Two were used to criticise the king for his hesitation to remove the corrupt politicians in his cabinet. The last two were used to assure him of the singers’ support for his government and their readiness to defend him. Two chants were used by chanters in Bosipo’s dream as Opalaba taught him how to fight corruption and the syndrome of ‘god-fatherism’ in his kingdom. The last chant was used by Amawo to warn the politicians against greed, corruption and get-rich-quick syndrome. Songs and chants constitute an important tool in the hands of the masses and socio-political activists to criticise or protest against politicians or to express solidarity for them.

Keywords:

Agogo Èèwọ̀, Songs and Chants, Political Discourse, Greed and Corruption, Nemesis

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