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Yoruba Culture and Globalisation

Globalization is not a new phenomenon, though its current phase in the ‘post-colonial’ third world generally has been marked more by its intensity, comprehensiveness and universality than previous phases. This is a major reason why it has been greeted with much resentment
and resistance by the intellectual elites—themselves creations of those same cultural processes resulting in globalization—of these societies
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CFBCIU Activities

1. Publication of a calendar of market days in Osun State, to be expanded within a year to cover two other neighbouring states and, eventually, all Yoruba states. This is based on the fact that Yoruba markets are not just commercial institutions but also socio-cultural institutions.
2. Work on and eventual publication of a calendar of Yoruba festivals, again starting with Osun State.
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The Host

Osun State, the host State and financier of the Centre, is right in the middle of Yoruba country in the south-west of Nigeria. Yoruba culture and social life have been an urban one for centuries, and Osun State
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ARCHIVAL MATERIALS
OYINLOLA OLOKUKU: Every inch a king
  YORUBA KINGS: The Timi of Ede; the Ataoja of Oshogbo; The Ogoga of Ikere, The Osemawe of Ondo; The Olokuku of Okuku
YORUBA CHILDREN: Children in Yoruba Society; Children as Olorisas; Children as professional drummers; weavers, etc. the inventors
  THE DURO LADIPO NATIONAL THEATRE: Duro Ladipo in osogbo, Berlin, etc.; Articles, photos, negatives, reviews.
THE E.K. OGUNMOLA THEATRE: Joseph and His Brethren; Love of Money; The Palmwine Drinkard (with sets and costume by D. Nwoko)
  THREE YORUBA ARTISTS: Yemi Basiri (brass caster in Ilobu); Asiru Olatunde (aluminium and copper reliefs, Osogbo); Adeyemi Akanji (cement sculpture, Osogbo).
more archival materials

 

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