CULTURA

CULTURA
INTERNATIONAL JOURNAL
OF PHILOSOPHY OF CULTURE

CULTURA AND AXIOLOGY

Founded in 2004, Cultura. International Journal of Philosophy of 2016
Culture and Axiology is a semiannual peer-reviewed journal devo- 2
2016 Vol XIII No 2
ted to philosophy of culture and the study of value. It aims to pro-
mote the exploration of different values and cultural phenomena in

INTERNATIONAL JOURNAL OF PHILOSOPHY OF

CULTURE AND AXIOLOGY
regional and international contexts. The editorial board encourages
the submission of manuscripts based on original research that are
judged to make a novel and important contribution to understan-
ding the values and cultural phenomena in the contempo­r ary world.

ISBN 978-3-631-71562-8

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CULTURA 2016_271562_VOL_13_No2_GR_A5Br.indd 1 14.11.16 KW 46 10:45

 CULTURA
CULTURA
INTERNATIONAL JOURNAL
OF PHILOSOPHY OF CULTURE

CULTURA AND AXIOLOGY

Founded in 2004, Cultura. International Journal of Philosophy of 2016
Culture and Axiology is a semiannual peer-reviewed journal devo- 2
2016 Vol XIII No 2
ted to philosophy of culture and the study of value. It aims to pro-
mote the exploration of different values and cultural phenomena in

INTERNATIONAL JOURNAL OF PHILOSOPHY OF

CULTURE AND AXIOLOGY
regional and international contexts. The editorial board encourages
the submission of manuscripts based on original research that are
judged to make a novel and important contribution to understan-
ding the values and cultural phenomena in the contempo­r ary world.

www.peterlang.com

CULTURA 2016_271562_VOL_13_No2_GR_A5Br.indd 1 14.11.16 KW 46 10:45

CULTURA

INTERNATIONAL JOURNAL OF
PHILOSOPHY OF CULTURE AND AXIOLOGY
Cultura. International Journal of Philosophy of Culture and Axiology
E-ISSN (Online): 2065-5002
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Prof. Dr. Paul Cruysberghs, Katholieke Universiteit Leuven, Belgium
Prof. Dr. Nic Gianan, University of the Philippines Los Baños, Philippines
Prof. Dr. Marco Ivaldo, Department of Philosophy “A. Aliotta”, University of Naples “Federico II”, Italy
Prof. Dr. Michael Jennings, Princeton University, USA
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Prof. Dr. Christian Lazzeri, Université Paris Ouest Nanterre La Défense, France
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Prof. Dr. Asunción López-Varela Azcárate, Complutense University, Madrid, Spain
Prof. Dr. Christian Möckel, Humboldt University of Berlin, Germany
Prof. Dr. Devendra Nath Tiwari, Banaras Hindu University, Varanasi, India
Prof. Dr. José María Paz Gago, University of Coruña, Spain
Prof. Dr. Mario Perniola, University of Rome “Tor Vergata”, Italy
Prof. Dr. Traian D. Stănciulescu, Alexandru Ioan Cuza University Iassy, Romania
Prof. Dr. Steven Tötösy de Zepetnek, Purdue University & Ghent University

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till.kinzel@gmx.de
Editorial Assistant: Dr. Marius Sidoriuc
Designer: Aritia Poenaru
Cultura
International Journal of Philosophy
of Culture and Axiology
Vol. 13, No. 2 (2016)

Editor-in-Chief
Nicolae Râmbu
Guest Editors:
Asunción López-Varela
and Ananta Charan Sukla
Bibliographic Information published by the Deutsche
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ISSN 2065-5002
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DOI 10.3726/b10729

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 CROSS-CULTURAL INTERMEDIALITY:
FROM PERFORMANCE TO DIGITALITY

CONTENTS

Asunción LÓPEZ-VARELA AZCÁRATE 7

Introduction: Performance, Medial Innovation and Culture

Ananta Charan SUKLA 13

Indian Intercultural Poetics: the Sanskrit Rasa-Dhvani Theory

Krishna PRAVEEN and V. Anitha DEVI 19

Kathakali: The Quintessential Classical Theatre of Kerala

Jinghua GUO 27
Adaptations of Shakespeare to Chinese Theatre

Cyril-Mary Pius OLATUNJI and Mojalefa L.J. KOENANE 43

Philosophical Rumination on Gelede: an Ultra-Spectacle Performance

María VIVES AGURRUZA 53

The Cultural Impact of the Nanking Massacre in Cinematography:
On City of Life and Death (2009) and The Flowers of War (2011)

Qingben LI 67
China’s Micro Film: Socialist Cultural Production in the Micro Era

Annette THORSEN VILSLEV 77

Following Pasolini in Words, Photos, and Film, and his Perception
of Cinema as Language

Adile ASLAN ALMOND 83

Reading Rainer Fassbinder’s adaptation Fontane Effi Briest

Yang GENG and Lingling PENG 103

The Time Phenomenon of Chinese Zen
and Video Art in China: 1988-1998
Carolina FERNÁNDEZ CASTRILLO 125
Lyric Simultaneities: From “Words in Freedom” to Holopoetry

Janez STREHOVEC 137

Digital Art in the Artlike Culture and Networked Economy

Stefano CALZATI 153

Representations of China by Western Travellers in the Blogsphere

Horea AVRAM 173

Shared Privacy and Public Intimacy: The Hybrid Spaces
of Augmented Reality Art
10.3726/CUL2016-2_43

Cultura. International Journal of Philosophy of Culture and Axiology 13(2)/2016: 43–51

Philosophical Rumination on Gelede :

an Ultra-Spectacle Performance

Cyril-Mary Pius OLATUNJI

Dept. of Philosophy & Theology,
Collegeof Human Sciences,
University of South Africa.
cyrilbukkyp@yahoo.com

Mojalefa Lehlohonolo Johannes KOENANE

Dept. of Philosophy & Theology,
Collegeof Human Sciences,
University of South Africa.
koenamlj@unisa.ac.za

Abstract. Gelede is a typical Yoruba concept which has evolved into a traditional
form of musical performance with its influence has transcend its traditional abode in
the Yoruba communities of Nigeria and West Africa to Latin Americas, parts of
Europe, Australia and the Black world at large. It also evolves beyond mere
localized performance in which members of a community gathered in the town
squares, market squares or the typical under the tree arrangements to a wider scale
in all aspects of the social, and even religiouslives of the people. This paper
combines an expository and comparative analysis with its main objective to sensitise
scholarly attention to the phenomenon and to provide supplementary concise and
critical source for further studies, philosophic analyses and scholarly interpretations.
Keywords: Gelede, Gender Studies, Gon-gon music, Nigerian performance, Ritual,
Yoruba

INTRODUCTION

Gelede is a typical Yoruba ritual and arts performance that has got its
influence beyond its traditional abode in the Yoruba communities in
Nigeria and West Africa to reach Latin America, parts of Europe,
Australia and the Black world at large (Klein, 2007). It expanded form
localized street performance in which members of a community gathered
in the town squares, market squares or the typical under the big tree
arrangement for the purpose of disseminating information, deliberating
and ensuring social harmony in the community (Wiredu, 2000: 274-382),
evolving in an unusual manner with wider, dipper and stronger influence
on performing arts and on culture on the global scene.

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 C.-M. P. Olatunji, M.L.J. Koenane / Philosophical Rumination on Gelede ...

As stated by Lawal Babatunde (1996: xiv,) very few works have been
carried out specifically on Gelede. These include H. Ulli Beier (1958),
Frank Speed (1968), and the first notable work carried out by an
indigenous scholar, Anthony Asiwaju (1975). In his works Benedict
Ibitokun (1987) also made a Gelede debut from a literary and linguistic
perspective, consequently opening up a genuinely new horizon in the
study of the traditional phenomenon. Since then public and scholarly
interest has risen appreciably, and there have been analyses of Gelede
from sociological, purely musical and historical perspectives.
Scholars such as R. F. Thompson (1971) have studied Gelede from a
philosophical perspective, providing a description of the aesthetic
components of Gelede costume. Babatunde Lawal (1996) carried out an
almost all encompassing groundbreaking work upon which this paper
largely depends, without necessarily adopting its analysis or position.
Since Lawal, only very little addition has been made to the body of
knowledge about this aesthetically rich and epistemologically significant
phenomenon with momentous prospects and implications for African
metaphysics and future world of arts.
This paper seeks to provoke renewed scholarly attention on Gelede,
tracing its roots and exploring its contemporary unique influences, in
spite of its current status as mere vestige of a dying tradition. To carry
out these promises, the paper applies an expository and comparative
analysis of Gelede placing it side by side other Yoruba arts forms such as
Egungun, Bata and Ijala ode, a male dominated Yoruba performing art, in
order to show how it has continued to evolve and influence modern
music and theatre.

GELEDE: ITS ORIGINS AND EVOLUTION

There is numerous and sometimes conflicting information regarding the

origin of Gelede. Historical notes are usually in two forms. Some come
from the mytico-religious tradition and others from historical sources.
The two traditions nevertheless are not perceived as conflicting in the
metaphysics of the Yoruba because it is believed that reality is a
combination of complements, hence the saying tibi tire lada ‘le aye (The
world is created good and bad). The mythical origin only explains the
ultimate cause and the historical tradition also complements with the
instrumental or material cause of the same entity in Aristotelian terms. In

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Cultura. International Journal of Philosophy of Culture and Axiology 13(2)/2016: 43–51

the mythical tradition, Gelede is traced to the mythical journey of

Orunmila (represented in the poetic narrative as Yewajobi, sometimes
called Yemoja (the primordial mother earth) or Yemaya in some
Brazilian and Latin American languages to the Haven of aje (often
translate in English as witch perhaps only as nearest in meaning). In the
historical tradition, there are many positions regarding the origin of
Gelede. Some Identify Ketu, others including Lawal think it came from
Ilobi (1996: 46-48). There are those who think it originated from the old
Oyo through the instrumentality of a Nupe man nicknamed Gbarada for
his mesmerizing performance at music and dance concert in honour of
an ancient Ruler of Oyo in one oral tradition, or Orisa olomowewe (Deity of
little children) in another oral tradition. The good thing however is that it
has since spread to all parts of Yoruba land and since the event of slave
trade in Africa has spread to numerous parts of the globe and especially
the Latin America. Although the spread and popular performance of
Gelede seems to be plummeting, especially with large population of the
people becoming Christian and Moslem converts, the influence of Gelede
on modern Yoruba music, dance, drama and cultural practices has
remained unhindered.

GELEDE: MASK AND PERFORMANCE

For an appreciable understanding of the Gelede phenomenon among

Yoruba, background knowledge of the people called Yoruba is needed.
Yoruba is the dominant culture in the south west of Nigeria and at the
same time one of the largest tribes of Africa. Yoruba people are naturally
fun loving people who often never miss an opportunity to create fun
from almost every event including street fights and domestic chores, and
by so doing appear to outsiders as sometimes trivializing even life
threatening issues. Arguably they do so in order to douse the physical
and psychological tension that could have arisen from such events
and experiences. They perfectly match the description of Kimmerle
(2009: 43-54) that for African peoples south of the Sahara, art is not
autonomous area of its own, but something that inseparably permeates
all areas of their life (Koenane, 2010).
Before embarking on the above mentioned mythical journey of
Orunmila, He was said advised, upon consulting the oracle, to disguise
himself putting on a wooden mask, a baby sash and metal anklets, to

45
 C.-M. P. Olatunji, M.L.J. Koenane / Philosophical Rumination on Gelede ...

avoid being harmed by the “powerful mothers.” Since then, Gelede has
become a ritual for anyone seeking protection from the aje and as a form
of appeal and thanksgiving to Yemoja by all those who seek children
from the goddess and it has since become a regular ritual practice in
parts of Yoruba land. The practice has since evolved and a number of
things are symbolically significant in the celebration today.
These include love, honour and respect for women and children,
care for the barren, night concert (efe meaning fun or joke), daytime
dance, togetherness, celebration, subtlety or diplomacy (as oppose to
tactlessness) for which Yoruba people are originally known prior to the
modern social and economic systems that forces women to hustle for
survival as much as their male counterparts. Space and time does not
permit to make any detailed description or analysis of all the features
identified. However of special interest are the night concert and the
daytime dance to this paper as they are often ignored in many of the
previous available scarce literature relating to Gelede.
The night concert usually involve a masked jester or humourist
employing satire to create a lot of fun, mimicking the any immoral
actions and utterances made by some members of the community during
the period under review and employing and reciting poems (oriki, ogede
and ewi) warning against the consequences of such actions especially on
the individual, society, women and future generations in a tactful manner
that does not incite violence: a blend of ritual and artistic spectacle, while
at the same time honouring women.
The musical instruments used in Gelede spectacle differs from place to
place, however, many of them include percussions such as agogo, sekere
and drums. Among these the gon-gon is of special interest. The musical
instrument called gon gon often referred to as the talking drum in English
language. According to Oluga and Babalola (2012: 47).
The basic similarity between the Yoruba talking drums and other
drums is that they are melody producing ... their difference lies in the fact
that the talking drums are also instruments of information dissemination
or media for transmission of vital messages. Among the local people, gon-
gon could be employed to render a narrative that would be as clearly
understood as any literary text would. Usually it employs ewi (poem), ogede
(incantation), oriki (praise poetry) and owe (proverb) with which the target
audience are familiar with. The audience easily decodes the message and
provides oral feedbacks via the same media in their verbal/oral forms.

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Cultura. International Journal of Philosophy of Culture and Axiology 13(2)/2016: 43–51

Most Yoruba music and celebrations are incomplete without the musical
instrument called gon-gon, and Gelede cannot be an exemption in this
regard.

Music Artists Entertaining with gon-gon Photo by Yemite Photos

Although Gelede does not have any special musical instrument, the type
of instruments used depends on the community or the style in vogue in
any environment. That notwithstanding, during the Gelede performance,
the show would still be incomplete without the gon-gon. The use of Gon-gon
is a common phenomenon and component of music in Nigeria even in
modern times including the reggae and the Hip-hop music. Alongside
the verbal music and message, the gon-gon continues to either merely
complement the rhythm and the lyrics or even communicate other
separate messages harmoniously beneath the melody. This explains why
it is said in Yoruba that oju to ti ri Gelede ti ri opin iran meaning the eye that
has watched the Gelede show has seen the peak of performance.
This medium of communication is made possible because the Yoruba
language is largely a tone language (Orie, 2006: 121-128). If the argument
of Rajewsky (2005: 43-64) that arts are genuinely intermedia because arts
do not exist completely separate and independent of another, could be
true of arts in other places, it would certainly be truer of Arts in most
parts of Africa where a festival tells a history without any verbal
narration; the name tells the autobiography and lineage history of the
bearer, the mask (masquerade) is itself an expression of cultural history.

47
 C.-M. P. Olatunji, M.L.J. Koenane / Philosophical Rumination on Gelede ...

THE INFLUENCES OF GELEDE

Gelede performance is a rare event in many parts of Yoruba in recent

time, at least not as it once used to be, except perhaps in Egbado, Yewa
and part of the modern day Benin republic. However, the influence of
Gelede as a ritual and as spectacle on the culture, social systems including
music, dance and artistic performances in Yoruba land is very enormous
and inestimable.
It is a popular belief among Yoruba that Gelede is associated with the
feminine and as a result is has to do with effortlessness and easiness.
Some even give the etymology of the concept creatively to mean a
combination of ge (to pet, adorn or care), ele (carefulness, or as a Creole
adaptation of the French elle which became part of urban language in
many Yoruba cities till today) and de (to relax), such that the combination
will be something like “adorn carefully to appease her or adore the lady
carefully to mollify her”. Judging from the main objective of the festival
as medium to celebrate women and motherhood and to honor the
power andauthority of females, coupled with the fact that during the
performance, the Gelede dance, according to Henry J. Drewal (1979: 225)
is characterized by highly stylized and regulated body movement in a
predetermined sequence and within the framework of careful jumping
and stamping, and the fact the fact also that the festival is usually
celebrated at the beginning of a new agricultural season when the usual
function of women in the farm is very close, then the etymology of
Gelede as given above may not be easily dismissed with a wave of hand.
The fact also that Bolojo, a type of dance which is characterizedby
simultaneouslytwisting and swaying the torso very slowly and takingshort
forward and backward steps giving distinct impressionof a gracefully
moving corpulent body, the effect which the name bo-lo-jo attempts to
capture onomatopoeically has been traced to Gelede aesthetical choreography
(Ayayi-Soyinka: 1989; 1-8), gives credence to it.
Gelede as a ritual mask and artistic performance is a blend of social
communication. During the show, all those who have behaved or
spoken in immoral ways or have committed public scandals are
humorously mimicked and mocked while creating a lot of fun. This
attitude persists in the lyrics of Yoruba musicians such as Fela
Anikulapo-Kuti, King Sunny-Ade, Orlando Owoh, Ayinde Barrister and

48
Cultura. International Journal of Philosophy of Culture and Axiology 13(2)/2016: 43–51

the drama performances of Moses Olaiya (Baba Sala). The mask wearing
music performance of Lagbaja is a glaring evidence of the influence of
Gelede mask in modern Yoruba art performances.
Gelede, like most other Yoruba art show involves a blend of rituals,
signs and arts including images, objects, features, musical sounds,
movements, verbal and non-verbal expressions, and the complex
associations of all of these, semiotically combined as one. Aside the place
and nature of arts and arts performance, this attitude explains three
important and notable features and components of Gelede mask
performance.
First, regardless of the representation of Africa and Yoruba people in
the literature, especially by feminist scholars, many of who are writing
from the social and epistemological background of Western canon
regarding the place of women in Africa, Yoruba African people do not
treat women as second class humans or even as next in ranking to man.
They do not attempt to create any comparisons. Rather, women are seen
as equal and special complements to their male counterparts. The
differences between the role of women and those of men either in
private homes or in community does not in any way imply the inferiority
of any sex. Feminism must therefore re-channel its objectives and
interests. Rather than attempting to discredit a culture such as Yoruba in
order to justify its mission and project, it should rather look elsewhere or
carve for itself other more credible social and epistemological objectives.
The state of theoretical feminism notwithstanding, Yoruba people have
from the ancient time regarded the female sex as special, adorable,
titillating, scintillating and equal, to be respected for what it is and to be
titivated and admired by all. That perhaps, why the concept iyawo (wife)
in Yoruba has been etymologized in some quarters as in (addressees,
most likely passerby), ya (stop over) (ki in) woo (to behold her, or even as
aya (also meaning wife), as a (we, or we will) ya (stopped over, definitely
to behold her). Regardless of whether these etymologies are accurate or
not, in an interview with Pa Robert Agunbiade (A.K.A. Baba rere) a
literate elder in a Yoruba related community of Akokoland admits that
many Yoruba people see the modern capitalist economic system which
expects women to toil and struggle with their naturally well-built and
more brawny male counterparts as being too harsh, exploitative and
unfair to females, as it denies them the care and admiration that nature in
its wisdom has bequeathed them as their legitimate right.

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 C.-M. P. Olatunji, M.L.J. Koenane / Philosophical Rumination on Gelede ...

Secondly, outsiders often have the impression that every festival of

this fun loving society called Africa or such a sub-society like Yoruba is
done purely for religious reasons alone. This misleading assumption
results from the fact that almost all of the numerous feasts and festivities
involve rituals and invocation of deities and ancestral spirits, consultation
of oracle and pouring of libation or sacrifice. On the contrary however,
Gelede is usually celebrated at the beginning of the new agricultural
season. This suggests why the women whose function it would soon
become to remove the weeds and provide mulching around the crops
need to be appeased and eulogized. Secondly, Gelede offers a unique
opportunity to empathize with women who were yet to have children of
their own in the community and to give then some sense of belonging,
while the whole community joins in providing some hope. In fact in
some communities, there are festivals for different age groups until it is
crowned with Oro, men’s cult celebration after the harvest season when
men could have the opportunity to rest. In many cases, the feast for
young girls is the grandest and lasts several days.

CONCLUSION

Gelede as a ritual and as an art as has been concisely described in the

paper serves diverse socio-cultural purposes. It serves not only as a
source of entertainment, a mode of communication, but also as a mode
of worship, physiological body training, a sociological means of ensuring
good behavior in society, method of ensuring peace, social order
and supply of labour, as well as an elaborate and unconcealed
acknowledgement of the power and social influence of women. All this
array of components semiotically blends into what makes the Yoruba
sub-society of Africa a semiologically and artistically significant
environment of theoretically rich significance, but which has yet attracted
the scholarly attentions it requires, and which this article serves to initiate
and stimulate.

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Cyril-Mary Pius OLATUNJI is currently a Post-Doctoral Fellow at the

Department of Philosophy, Practical and Systematic Theology, University of South
Africa.

Mojalefa L.J. KOENANE is a Senior Lecturer at the Department of Philosophy,

Practical and Systematic Theology, University of South Africa. He has published
widely in aspects of African philosophy, governance and ethics.

51