RECREATION OF ORAL POETIC GENRES IN SELECTED YORÙBÁ HOME-VIDEO FILMS

The Yorùbá film as audio-visual literature is thought of as one of the most educative components building society. “Modernization” and responses to global change brought about the Yorùbá films which are an offshoot of the Yorùbá Travelling Theatre Movement. The indigenous theatre practitioners who are versatile in practicing the oral poetic genre and have successfully emerged as producers, directors and film-script writers employ and recreate oral poetic genres by adding feelings, beliefs and knowledge they had acquired in the past. This paper attempts a descriptive analysis of five purposively-selected Yorùbá video films by using the sociological approach: Ẹfúnsetán Aníwúrà; Basòṛun Gáà, Ogun Àgbéḳòỵa, Ogun Ìdàhòṃì and Òṛànmíyàn; which are replete with instances of ingenious recreations of Yorùbá oral poetic genres. The analysis is conducted with a view to elucidating the attempts of Yorùbá home-video scriptwriters in recreating and reconstructing their experiences. The analyses of the selected Yorùbá home-video films reveal that the Yorùbá home-video script writers make artistic use of Yorùbá oral genres in their films through the creative exploitation of proverbs, songs, chants and mythical allusions. The allusions to myths in the selected films suggest that Yorùbá home-video films share apparent inter-textual links with Yorùbá oral poetry. The study concludes that Yorùbá home-video scriptwriters deploy oral poetic genres in their films as one of the ways in which the artistic experiences of the Yorùbá people can resonate.


Introduction
explains that literary and historical oral traditions are the two types of oral tradition. The literary oral traditions include praise, chants, Ifá divination, songs, proverbs, parables and incantations, while the historical oral tradition consist of narratives based on myths, legends and historical plays such as epic. Films cut across different fields and languages and have drawn attention of numerous researchers. Some scholars have trodden the path of analyzing films from different perspectives. Ekwuasi (1987) wrote extensively on the emergence of film in Nigeria. Mgbejume's (1989) work is based on the historical development of Nigeria films and the problems facing the film industry. Àlàmú (1991) dwells on the trends in the development of Yorùbá video-films within the first ten years of their existence -1976-1986. Also, Àlàmú (2002) examines the aesthetics of Yorùbá video films. Adélékè (1995) examined audience reception of Yorùbá films in cinema houses. Haynes (2000) focuses on Nigerian Video Films. Ògúnlé̩ ye̩ (2003) examines African Video Film Today. Balseiro and Ntongela (2003) examine Film and Film Culture in South Africa. Adésò̩ kàn´s approach (2004) is based on the Politics and Aesthetics of Nigerian Video Films. Olújìnmí (2005) dwells on the portrait of the female in Yorùbá video films, while Adágbádá (2005) examines womenfolk in the Yorùbá video-film industry. Armes (2006) works on African Filmmaking North and South of the Sahara. Yusuf (2006) delves into the issue of Adébáyò̩ Fálétí on screen. Olútúndé's work (2006) is based on a mythological reading of Bámilóyè's Agbára Ńlá and Ìdè Ès̩ ù Christian Films. Akínye̩ mí (2007) discusses Aesthetics, Transfer and Social Vision in Two Yoruba Video Films while Misikawong (2007) treats Working Practices in Thai Independent Film Production and Distribution. A piece by Adágbádá (2008) is based on Yoruba Texts on The Screen in Africa through the Eye of the Video, while Sè̩ san (2008) examines African aesthetics in Yorùbá language video films. Adéòtí (2009) discusses Home Video Films and the Democratic Imperative in Contemporary Nigeria while Dovey (2009) examines African Film and Adapting Violence to the Screen. Arúlógun (2009) treats The Role of the Film in Cultural Identity. Yekeen (2009) surveys the use of folklore in Yorùbá films. Adú (2009) (2015) focuses on culture and value change in selected Yorùbá home videos. The emergence of video film production, distribution and exhibition in Nigeria was systematic and gradual. The embryonic stage of video film production can be traced back to the theatrical performances of Alárìnjó theatre (Adédèjì, 1981). Thus, Alárìnjó theatre provides the basis for the development of film culture in Nigeria. Since its inception, the home-video film has become an alternative venture for the creative ability of the Yorùbá theatre practitioners. The film industry has progressively projected African cultural heritage to other parts of the world. According to Àlàmú (2010), the untiring efforts of the film producers in promoting the Yorùbá language and culture have encouraged other ethnic nationalities in Nigeria to realize the potential of the medium for promoting their respective languages and cultures.

Theoretical Approach: Sociology of Literature
Because literature burdens itself with human expression, human experience and human behaviour (Ògúns̩ ínà, 1987), this study employs the sociology of literature, as man is a product of his society. Moreover, literature is part of and a product of society. Literature uses language to explain society. It is used to reflect and retract what might have happened in a particular society at a certain period of time (Dasylva, 1995). The scriptwriter is also a member of the society. In producing films, he/she actualizes and reuses materials that were circulating in society. Barber (1978:7) is of the opinion that, sociology concerns itself with all that happens to human beings as a result of their relation with one another in society. As with all social sciences, it deals with the world of man's experience, man's behaviour with regard to his fellow human beings, but its main focus is the larger social entity. The relevance of a sociology of literature to literature even in modern times has also been mentioned in works of critics such as Ogundeji and Fasehun (2016), and Mobolaji (2016) respectively. The sociology of literature therefore is an attempt to understand the interrelationship between literature and society. It postulates that a work of art does not exist in isolation and should not be studied as such. This is because works of art are not independent of their society. Taking a closer look at the films examined here, one can clearly see that it has much that is relevant to the society. Home-video film is a fruit of the society; it cannot be studied in isolation without an understanding of the society in which it was created.

Synopses of the selected films
This section presents summaries of a number of Yorùbá home-video films selected and arranged for the purpose of fulfilling a complex set of imaginative and theatrical purposes by the scriptwriters. This will aid understanding of the selected films under study.

Basò̩ run GáaT
he film, Basò̩ run Gáà, is a historical reconstruction of the life and times of Gáà, the head of the ò̩yó̩ mèsì (the traditional king-makers of the ancient Ò̩ yó̩ kingdom) during the tenure of O ̩ ba Abíó̩ dún Adégoólú as the Aláàfin of Ò̩ yó̩ . The film centers on the acts and vices of Basò̩ run Gáà, the head of the king makers. He was a powerful man who played the lead role in the crowning and executions of four installed kings during his reign as the Basò̩ run and would have done the same to the fifth but for the timely intervention of ààre̩ O ̩ yaabí, the ààre̩ ò̩ nà kakaǹfò (Field Mashal), who fought and overpowered him. He is portrayed as a leader who loves and desires absolute authority? But such authority is denied him on account of the ban on the O ̩ sò̩ run title that they can never be a crowned king. Gáà is vested with power and authority, and he wields it to the detriment of his people. In order to appease the basò̩ run, the moment king Adégoólú ascends the throne he lavishes Gáà with compliments. The last straw is the killing of O ̩ ba Adégoólú's only child, Àgbò̩ yín, by Gáà. The king seeks the help of ààre̩ O ̩ yaabí, and with the support of Ò̩ yó̩ people, Gáà is conquered and peace returns to Ò̩ yó̩ .

E ̩ fúns̩ etán AníwúraT
he film, E̩ fúnsetán Aníwúrà is a recreation of the history of a woman chief of Ìbàdàn (Ìyálóde E̩ fúnsetán) during the time of ààre̩ Látòósà. E̩ fúnsetán is portrayed as an economic and political figure who ranks with men in terms of her exploits. These feats won her the admiration of many and also made her an enemy to the head, ààre̩ Látòósà, who sees her as a threat, but lacks strong evidence to justify attacking her. E̩ fúnsetán is a loving mother and mistress who showers love on all and sundry. However, her actions change for the worse when she loses her only daughter who dies during childbirth; she killed Ògúnjìmí, the palm fruit tapper, and subjects her slaves to merciless beating and starvation. She also goes to the extent of placing a ban on childbirth in her domain. Any defiance to such instruction sees the death of the subject and whoever is involved. All pleas to spare her slaves fall on deaf ears, and necessary action is thus taken to curtail future acts. War is unleashed on her, and she commits suicide in her abode, seeing that she has been over-powered, after confronting the ààre̩ himself.

Ogun Ìdàhò̩ miT
he film, Ogun Ìdàò̩ mì is the historical recreation of how Ò̩ tà people at several times in the 18 th century prevented the traditional È̩ gbá people from crossing their land into the old Lagos province where there was a very large presence of white men who brought commercialization and new technology into the old Lagos colony. In their quest to transact business with the white men in Lagos the È̩ gbá people were attacked at Ò̩ tà border. When the news reaches Sóde̩ ké̩ , the O ̩ ba of È̩ gbáland orders Akóódú one of his powerful warriors to follow È̩ gbá traders to Lagos; he overpowers the Ò̩ tà warriors, and they are able to transact their businesses. The role of a traitor that Àkànbíyééku plays by revealing the Ò̩ tà plan to the È̩ gbá people costs him his life, -his elder brother vows to avenge his death. The killing of Je̩ unsínú an È̩ gbá man who refuses the order of Sóde̩ ké̩ concerning the abolition of the slave trade, and the beheading of an Ìdàhò̩ mì slave trader to Ògún shrine, lead to war between È̩ gbá and Ìdàhò̩ mì people. The Ìdàhò̩ mì people seek assistance from Ò̩ tà people so that together they can conquer the È̩ gbá people, but the invitation is not honored because they are both Odùduwà's descendants. In the end, È̩ gbá people conqure the Ìdàhò̩ mì people because Sóde̩ ké̩ has given himself as propitiation to the gods. Sóde̩ ké̩ dies in his bed after the war and he is greatly mourned.

Ò̩ ràmíyàn
Ò̩ rànmíyàn is the recreation of the life and achievements of the last born Yorùbá progenitor, Odùduwà, known as Ò̩ rànmíyàn. Ò̩ rànmíyàn was king in Ilé-Ifè̩ until he left for Uselu to also be their king. O ̩ balùfò̩ n reigned in Ifè̩ as their king after Ò̩ rànmíyàn's departure. After O ̩ balùfò̩ n's demise his son, Aláyémo̩ re̩ , became king. At Uselu, Ò̩ rànmíyàn married princess Erínwindè, but no sooner had Ò̩ rànmíyàn ascended the throne, the chiefs began to find fault in his ways of administering justice. Erínwindè and the chiefs conspired against Ò̩ rànmíyàn, and he left the throne in annoyance after casting a spell on them that no other person will occupy the throne except his son. He also renamed Uselu land "Ilè̩ Ìbínú" (Land of Annoyance) which was later changed to Benin land. Ò̩ rànmíyàn, in his journey, sojourned in Tápàland, and helped them defeat the Ìbàrìbá warriors. In appreciation, the king of Tápàland gave his daughter, Torosí, to Ò̩ rànmíyàn as his wife, and she gave birth to S̩ àngó and Àjàká. Ò̩ rànmíyàn later established another town known as Ò̩ yó̩ , and after many years of sojourn, he returned to Ilé-Ifè̩ with his family members amid pomp and pageantry. Ò̩ rànmíyàn reigned for many years in Ilé-Ifè̩ , and his children also became kings in their respective domains. At the end, Ò̩ rànmíyàn disappeares and leaves his staff as a remembrance.

Ogun Àgbe̩ kò̩ yà
The film, Ogun Àgbe̩ kò̩ yà, is a historical recreation of the unrest between the farmers and the government in Ìbàdàn. The Ìwàloyè people were major farmers who dealt in cocoa. The ridiculous cuts in the price of a tonne of cocoa from ten kobo to two and half kobo and increases in taxes did not go down well with the farmers who could no longer meet their financial obligations. The farmer, through their village head presented their complaints, but to no avail. The youths also complained about some buildings that had been demolished but the government's representatives turned a deaf ear. The farmers made Amúbíe̩ yá their leader, and when government representatives attacked the people of Ìwàloyè town at the worship centre, on the market place and on their farms, the farmers and their leader, Amúbíe̩ yá, retaliated by attacking the government's representatives and the police. They fought and prevailed through diabolical means. The premier of the region made a timely intervention and organized peaceful negotiations with the farmers. However, the police way-laid the farmers and attacked many of them. The farmers broke into the jail at night and set all the prisoners free. Amúbíe̩ yá was declared wanted by the police for jail break, but with the help of Margaret, a disguised police officer who professed to be in love with him, the police was able to capture Amúbíe̩ yá.

Recreation of Oral Poetic Genre in Selected Yorùbá Video Films
Yorùbá home-video scriptwriters appropriate the resources of their oral traditions in individual and creative ways, and forge the materials into varied, new and interesting forms. The scriptwriters borrow from the rich African verbal art forms to create new visions of life and new poetic idioms with remarkable originality. The scriptwriters´ employment of the rich Yorùbá oral genres makes the films unique and interesting. The oral poetic genres that are analysed in the selected Yorùbá video films are proverbs, praise poetry, songs and myths.

Proverbs
Proverbs are a universal phenomenon that have been highly valued from ancient times to the modern age. Proverbs are a rich source of imagery and succinct expression, encapsulating abstract ideas and allusive wordings, usually in metaphorical forms. As in many parts of the world, the Yorùbá hold proverbs in high esteem because they are regarded as the wisdom lore of the society. Proverbs are considered to be traditional and to have originated from the observation of natural phenomena and human relations, and old people are regarded as a repository of proverbs. The scriptwriters of the selected Yorùbá homevideo films use proverbs to express an essential idea. They are not usually subjected to a rendition in their original forms. Rather they are modified and adapted according to the demand of rhythm and beat. An instance of the modification of proverbs is to be found in the film, O ̩ rànmíyàn, when Àjàká is reporting S̩ àngó's absence in Ò̩ yó̩ to their mother, and she tried to defend him; he responded in a brave tone, and Torosí says: hough a few words have been added to the proverb, the original meaning is retained. What Torosí is saying in essence is that Àjàká's father, O ̩̀rúnmìlà, is a very courageous man. Hence, Àjàká is also expected to take after his father. Another example of the recreation of proverbs is seen in O ̩ láté̩ jú's speech in Ogun Ìdàhò̩ mì when Àkànbíyéékú visits her for the first time after the attack. She says: Ata kì í sò̩ re̩ ojú Omi kì í sò̩ re̩ iná Pepper is not friendly to eyes Water is not friendly to fire The original way of rendering the proverb is: Iná àti e̩ tù kì í sò̩ re̩ Fire and gun powder are not friends In the original proverb, there is emphasis on the danger of the interaction or contact between iná "fire" and ẹtù "gunpowder" a mixture that can wreak havoc. Also, such danger is further illustrated in the modification where ata "pepper" versus ojú "eyes" and omi "water" versus iná "fire" cannot mutually interact. The danger of such interaction brings about the assertion employed in Yoruba invocation with the saying thatọjọ́ tí atá bá bọ́ sójú ní í ba ẹwà ojú jẹ́ "the beauty of the eyes is affected the day pepper drops on the eyes". What O ̩ láté̩ jú is telling Àkànbíyéékú in essence is that both of them are not friends, therefore, his visit to her house is suspicious and questionable. Also, in Ogun Ìdàhò̩ mì, when Akóódú is given instructions to È̩ gbá traders, he warns them with this proverb: E̩ má jó ko̩ já àge̩ re̩ E̩ má tase̩ ko̩ já ijó Don't dance beyond àgè̩ rè̩ drum Don't raise your leg more than the dance The normal way of rendering the proverb is: E̩ máse tase̩ àge̩ re̩ Don't go beyond your boundary Dancing beyond the drum or moving faster than the beat could bring confusion, while dancing beyond one's reach or limit can lead to calamity. As a result, Akóódú uses the proverb to forewarn the È̩ gbá traders to behave themselves because they are journeying along the O ̩̀tà border, and such an act can lead to war with the revered Ọ̀tà warriors. The artistic recreation of the proverb by Akóódú does not change the meaning of the proverb in its original form but adds to the aesthetic splendour of the proverb. Another instance of the recreation of proverbs is seen in the film Basò̩ run Gáà. After the execution of the king, Májè̩ ógbé, the next in line to the throne, Débíìyí, decides to flee because of his fear of Gáà, a callous man who develops an interest in killing and enthroning one king after the other. When the people appeal to him not to run away, he says: Àgbókù àtòrì tí a fi na ìyálé Tó̩ ló̩ mo̩ ge bá wo̩ lé o̩ ko̩ tán Ó lè gbó mó̩ o̩ ló̩ mo̩ ge lára The remnant of the whip that was used in beating the senior wife When the newly wedded wife enters her husband's house It can also be used to beat the junior wife The original form of rendering the proverb is: Ò̩ pá tí a fi na ìyáálé Ò wà lájà fún ìyàwó The whip used to beat the senior wife Is on the roof for the younger wife Débíìyí is afraid of death; he is now telling his people that he does not want to suffer the same fate of the other kings in the hand of Basò̩ run Gáà. The character replaces Ò̩ pá with Àgbókù àtòrì and ìyàwó with o̩ ló̩ mo̩ ge to suit contemporary language usage as at the time of production. While such whip is said to be on the ceiling in the original proverb, it is potrayed to be within reach in the recreated proverb. Though the proverb is recreated by Débíìyí, the meaning of the proverb in its original form is retained. When Gáà in the film Basò̩ run Gáà is addressing the chiefs on the need to install another king so that the town can have a leader, he says: Bílùú kò dùn

Kò só̩ mo̩ tálákà tí yóò ròde e̩ mu
When the town is not peaceful The son of the poor cannot go for a drink The original form of the proverb before it was recreated is: Bó̩ ò̩ de̩ ò dùn Bí ìgbe̩ ni ìlú ri When the home is not peaceful The town will be like dung The proverbs illustrate the importance of good governance and peace in a community. Peace breeds abundance, growth, good commerce and an avenue for trade. Hence, the recreated proverb emphasises the adverse effect of having no peace on the community. This modification is made possible by replacing ọ̀ọ̀dẹ̀ with ìlú and bí ìgbẹ́ ni ìlú ń rí with kò sọ́mọ tálákà tí yóò ròde ẹmu to the notion of pleasure. Gáà wants another king to be enthroned so that peace can return to O ̩̀yó̩ town and for people to go about their normal business without any disturbance. After the installation of King Abíó̩ dún Adégoólú as the new king in Ò̩ yó̩ in Basò̩ run Gáà; he fears that he may be killed by Gáà suffering the same fate of his predecessors. To avoid this, Adégoólú makes known his intention to run away to Ìyá-Ilé Orí, and she responds thus: O ̩ mo̩ o̩ ba tí ń be̩ rù je̩ je̩ Irú wo̩ n kì í róyè ilé baba wo̩ n je̩ A prince that is afraid Such will never claim his family's title The above proverb is the recreation of the original form that goes thus: N ò lè kú kan Kì í joyè ilé baba re̩ I don't want to die Will never claim his family's title The proverb is modified through the substitution of the first person pronoun 'N'to 'the prince' and 'dying' with 'fear/cowardice'. Ìyá-Ilé Orímakes the statement more direct to Adegoolu to address his overwhelmimg situation and to bolster him so that he wont 'bow to cowardice and run away like other prince. This is also a silent allusion to Debiyi, a prince, who should have been crowned king after the death of Majeogbe but ran away with his wife and children. Ìyá-Ilé Orí encourages Adégoólú to shun fear and be courageous because fear will worsen the situation and that he should not run away. Rather, he should wait and think of how to overcome his fear, Gáà. While grinding pepper and working in Ìyálóde E̩ fúnsetán's backyard in the Yorùbá video film, E̩ fúnsetán Aníwúrà, one of her slaves, Adétutù laments: Òsìse̩ wà lóòrùn E̩ ni tí yóò je̩ wà níbòji Workers are under the sun The person that will eat it is inthe shade The original form of the proverb is: Òsìse̩ wà lóòrùn Náwónáwó wà níbòji Workers are under the sun The person that will spend the money is in the shade Adétùtù is lamenting her sorry state, that she is only grinding the pepper that she will not taste it. She is bitter about the way they have being overused by their master, Ìyálóde E̩ fúnsetán. There is a modification through substituting E̩ ni tí yóò je̩ for Náwónáwó since it applies more to Adetutu's prevailing situation in the film. The person performing the task does not enjoy her labour since she has the sole purpose of pleasing the Lord of the house. The proverb retains its actual meaning despite the recreation. Also, in Ogun Àgbé̩ kò̩ yà, when the farmers contact Àwíyé, a lawyer, to sue the government on their behalf and he advises them to exercise patience, they leave his office in annoyance and threaten fire and brimstone. The lawyer replies thus: A kì í fàìjinná ò̩ le̩ fìtara méwé We cannot transfer the pain of uncooked ò̩ lè̩ to leaf The original form of the proverb is:

A kì í fìkanraàìtà májé
We cannot transfer the pain of poor salesto Ajé Though the scriptwriter recreates the proverb, it does not change the original meaning of the proverb, and the lawyer is simply telling the farmers that they cannot shift the blame for what they are suffering at the hands of government to him, because he is not the architect of their misfortune. The modification is made possible through the lexical matchings; Fàìjinná ò̩ le̩ and fìkanra àìtà then méwé and májé to suggest same meaning. When the farmers employ diabolical means in dealing with the police officers and many afrika focus -Volume 32, Nr. 1 [ 22 ] ABIDEMI BOLARINWA of them are maimed, two police officers who are afraid of the farmers approach them for succor. One of the farmers, out of annoyance, responds thus: Bí wo̩ n ó bá gbàwìn e̩ bà, ni wó̩ n gbó̩ mo̩ e̩ le̩ bà jó Bí wó̩ n bá yó tán, wó̩ n á do̩ ko̩ e̩ ni gbogbo It is when they want to buy è̩ bà on credit that they romance the è̩ bà seller, the moment they are satisfied, they lord themselves over everybody The original form of the proverb goes thus: Bí e̩ dá ó bá gbàwìn e̩ bà, ni wó̩ n sojú àánú Bí wó̩ n bá yó tán, wó̩ n á do̩ ko̩ olúwa wo̩ n It is when human wants to buy è̩ bà on credit that they will be sober. The moment they are satisfied, they lord themselves over their boss The farmers know that it is because of the fact that the policemen's lives are in danger that they are now asking them for protection. The farmers are aware of the fact that the policemen are traitors who cannot be trusted; therefore, the policemen are killed. The original form of the proverb and the one that the scriptwriter recreates has the same meaning; the recreation of the proverb does not alter its original meaning. In the first line, wọ́n is substituted with ẹ̀dá to reiterate that the habit is common among human beings while ni wó̩ n gbó̩ mo̩ e̩ le̩ bà jó, which replaces ni wó̩ n sojú àánú makes emphasis on being more familiar or coming to the level of that person. The modification adds aesthetics to the proverb. The recreation and adaptation of proverbs by the scriptwriters in the selected Yorùbá home-video films at times take the form of adding a few words or of contrasting the proverb words but they still retain the essential image necessary for its identification.

Praise Poetry (Oríkì)
Praise poetry is a genre of Yorùbá oral poetry that could be described as attributions or appellations. In the wealth of Yorùbá oral literature, they are probably the best known of all Yorùbá peotic forms (Barber 1991 It is traditionally believed that correct performance of Oríkì in honour of a progenitor gladdens the progenitor in the world of spirit and induces him to shower blessings on his offsprings on earth. The reciting of appropriate oríkì in honour of ancestor of a particular family causes members of that family who hear the performance to feel very proud of their pedigree, they also feel exceedingly home sick.
Oríkì encapsulates the past and bring is it into the present, where its exercise is a continual pull.
Oríkì is one of the principal discursive media through which much is known about the characteristics of the person or things that are being praised, and people apprehend history, culture, customs, norms, society and the spiritual world. Oríkì makes people realize the gain of valor and sacrifice for one's mother land. Anyone who performs heroically to defend a community by warding off vandals deserves community commendation in the form of praise poetry. The Ifè̩ people do not fail to praise Ò̩ ràmíyàn in the film Ò̩ rànmíyàn as the founder of their community and also as defenders of their territorial integrity. The rabbit wakes up hale and hearty The small rat wakes up hale and hearty in its hole So far we are hale and hearty, we are pleased.
The proverb is modified from being personal praise to delivering showers of extravagant praises on the revered Gaa. This also points at the role and lifestyle of Gaa and his family whose lavish lifestyle and thirst for power is to the detriment of their followers. The praise above, rendered by the bard induces Basò̩ run, who was listening from his bedroom, to send cash and material gifts to the bard as a form of compensation. One of the features of Oríkì which traces the origin of a lineage or a family and commemorates personalities, events and actions that people consider important are brought to bear when Sàmù praises O ̩ yaabí thus in the film, Basò̩ run Gáà: È̩ só̩ kìí gb'o̩ fà le̩ yìn Gbangba iwájú ni wó̩ n f ií gba tiwo̩ n È̩ só̩ tó wù kó gb'o̩ fà le̩ yìn A je̩ wí pé s̩ e ló sá gun The È̩ só̩ never received arrow shots in the back Any È̩ só̩ that received arrow shot in the back Definitely absconded from the battle The above oríkì reveals the military prowess of O ̩ yaabí progenitors. They are known for their bravery and dexterity in battle. The oríkì above is used in eulogizing O ̩ yaabí and serves as a spur for him to combat Basò̩ run Gáà. Oríkì is also one of the principal discursive media through which much is known about the characteristics of the person or thing that is being praised. Akínkúnmi in the film Basò̩ run Gáà reveals the evil and deadly nature of Gáà when Àgbò̩ nyín disclosed to him her father's intention of betrothed her to Gáà. He exclaims thus:

Iba tí í bolé tí í boko E̩ ni tí ikú í rán pa ni È̩ rù je̩ je̩ tí í bo̩ mo̩ àdúgbò
Iba that is capable of taking over the home and farm The messenger that death sends to kill people The fearful one that terrifies the children in the neighborhood Another variance of such oriki is; Iba tí ì gbalé, tí í gboko Ikú tí í pọmọ tí baba ò gbọdọ̀ gbin Àrùn tí í ṣọmọ màmá ò gbọdọ̀ sọ̀rọ̀ Ẹ̀rùjẹ̀jẹ̀ ní gbogbo ilẹ̀kílẹ̀ Iba that is capable of taking over the home and farm The death which kills a child while the father remains silent The disease which affects a child and the mother must keep shut The one revered in all towns As known in oriki, renditions differ while the leitmotif remains the same. The two praises are from different people who express the same thoughts in different ways and at different times. The evil and deadly nature of Gáà is obvious in the above praise poetry. People fear Gáà because of the roles he played in the crowning and execution of four kings during his reign as Basò̩ run. Despite the fact that people, even other king makers, know about Gaa's mischiefs, no one is bold or strong enough to confront him. Only the bards could do that in a subtle way since they enjoy immunity in their art. Hence, Gáà is aptly described asdeath itself, a murderer and disease who ravages people beyond repair. All the praise poems used by the scriptwriters eulogize and reveal the characteristics of the subject of oríkì, and with this the scriptwriters employ oríkì as one of the Yorùbá oral poetic genres to drive home their point about the characters being praised.

Songs
Song is a universal phenomenon, and a major medium for exhibiting one's thoughts. In Africa, song is a sub-set of oral poetry, and among the Yorùbá, it is a veritable genre of oral literature. Olúkojú (1978:89) submits that 'orin' is the generic term for all types of songs. Songs, like music, are synonymous with all human activities. Songs are products of the modulating effects of the vocal chord which produces sounds that vary in tunes, tones and pitch. Song can be produced and rendered individually or communally. In Africa, songs "are known to influence people with regard to events" (Finnegan, 1977). Songs carry the pulse of individual or communal feelings because they are based on events in individual or communal life. The scriptwriters of selected Yorùbá video films adapt and re-create various Yorùbá songs to depict different situations practices and as well as different themes.
In the film, Basò̩ run Gáà, the mean and cruel king, Májè̩ ógbé kills his father-in law, Ìlò̩ rí, the bàtá drummer, at Jàbàtá just because he could not take the joke that his wife throws at him. Májè̩ ógbé's decision to kill Ìlò̩ rí does not go down well with the Ò̩ yó̩ people and on the order of Gáà and the Ò̩ yó̩ mèsì, Májè̩ ógbé is executed and the people sing thus: Alágbára ayé e̩ sayé re Alágbára ayé e̩ sayé re Ènìyàn s̩ e pe̩ le̩ ile̩ ń yò̩ O ̩ jó̩ tó ò we̩ yìn tó ò ní re̩ nìkan mó̩ Alágbará ayé e̩ sayé re The powerful one be careful The powerful one be careful People thread softly the ground is slippery The day you will look back and see no one The powerful one be careful Another variance of the song which is not used in the film also points attention to being careful while in power. The scriptwriter is more direct based on the prevailing situation in the film. This is effective because songs or choruses give additional information in the play and it intimates to the viewers the possible outcome of an action. The song is a warning to the powerful to be cautious so that they do not misuse their power as did king Májè̩ ógbé. The song is reinforcing the importance of being cautious when one is powerful. The song therefore is educating and enlightening the people. During the installation of the new Aláàfin Abíó̩ dún Adégoólú, songs were rendered to honour the king and entertain the people that witnessed the installation: From the above song, the people show their acceptance of the choice of the newly installed king, and they also beckon to him, to rise and display his royal honour and majesty. This song is a modification of "ṣẹkẹrẹ̀ lọba ń jó" where such song reveals the kind of music the Aláàfin of Oyo dances to. The song is, therefore, reused to call on the king to dispaly his royalty and elegance in the presence of his people with his dancing steps. Also, the song entertained the audience, and one is able to deduce that the new king and his subjects are in a joyous mood. There is a small modification in the song used in the film with regard to the noun Igún which is Ikún in the common usage. This is strange as vultures are not usually trapped or killed in Yorubaland because they are seen as sacred birds and traps are not usually used. This is just to illustrate the arduous task. The above song is a war song rendered to incite trouble and also insult and challenge Ìyálóde E̩ fúnsetán's authority; this leads to a public display of might and strength by Ìyálóde È̩ fúnsetán and Ààre̩ Látòósà. To avoid public assault and disgrace, Ìyálóde commits suicide. Olúfè̩ festival is a traditional festival that is celebrated annually among the Ifè̩ people. We are celebrating Olúfè̩ 's festival The pregnant women will deliver safely The barren will dip their hand in Osùn Your highness our king Ò̩ rànmíyàn our king Olúgbó̩ n's reign was peaceful Àrè̩ sà's reign was peaceful You will wear the crown for long You will wear the royal shoes for long We are celebrating Olúfè̩ 's festival The Ifè̩ people through the above song are showing their happiness at witnessing another celebration of the festival and at the same time proclaiming to the people that it is time for another wonderful experience. The song no doubt establishes a joyous mood and lifts the morale of the people. It is also a supplicatory song for the peaceful and long-lasting reign of their king, Ò̩ rànmíyàn, and the well-being of the entire Ifè̩ people. The scriptwriter makes allusions to the reign of Olúgbó̩ n and Arè̩ sà who were great kings in Yorùbáland. These allusions show the scriptwriter's interest in his localized audience, and it enhances great sense of belonging and credibility. The scriptwriter of the film Ogun Àgbé̩ kò̩ yà adapts many Yorùbá protest and war songs to reinforce the themes of the film which include political tension and chaotic situations.

Owó orí ò s̩ é é san Owó orí ò s̩ é é san Kòkó ó tà Àgbàdo ò gbówó lórí Owó orí ò s̩ é é san
It is difficult to pay tax It is difficult to pay tax Cocoa is no longer profitable The price of maize is going down It is difficult to pay tax The above is a protest song rendered by the farmer's association to make known their grievances about the cut in the price of cocoa and the intolerable increases in taxes. The structure and form of the song is synonymous to that of Dágunró ò ṣe é jẹ... "Dagunro cannot be eaten…" The contents differ but the drumbeats and other emotions put into the songs as protest are the same. This reveals the artistic way poets, scriptwriters and the Yoruba people string words or statements together with similar rhythmic patterns for aesthetic effect. The farmers express their hatred and hostility towards the government through the song. Below is another war song rendered by the same farmer's association in Ogun Àgbé̩ kò̩ yà film: Òkú akó̩ dà ní ó kun Òkú akó̩ dà ní ó kun Kòtò gìrìwò tí ń be̩ níle̩ yìí Òkú akó̩ dà ní ó kun The police corpse will fill it The police corpse will fill it The dungeon that is in this town The police corpse will fill it The above song rendered by the farmers is for incitement of trouble, to challenge and insult the police. It is also a confrontational song from the farmer's association that is meant to scare and intimidate the police force. The farmers and the police engage in battle, and the farmers association prevails through diabolical means. The Premier of the region makes a swift intervention to resolve the crisis between the farmers and the police force by organizing a peace-talk with the farmers. After the peacetalk, the farmers sing thus: Awóló̩ wò̩ baba Láyínká Ò ó s̩ e bó o ti wí O ̩ mo̩ àlè n ií sò̩ rò̩ , tí kì í s̩ e be̩ e̩ mó̩ Ò ó s̩ e bó o ti wí Awólówò̩ Láyínká's father You will fulfill your promise It is only bastards that make promise and fail to fulfil the promise You will fulfil your promise This song is common among Yoruba people to eulogise kings, warriors and other famous people especially when such persons give their word. Such is used to spur the subject into action. As a result, they recreate the song by changing the names mentioned and replacing them with another subject to be praised. The song is a praise-song in honour of Awóló̩ wò̩ , the Premier of the region. The song reiterates the farmer's belief and confidence in the Premier of the region that he is a man of his word, who will not renege on his promises to the farmers. Through the adaptation of various Yorùbá songs in their films the scriptwriters have been able to establish the cultural expression and moral values of Yorùbá society in their films.

Myth
There have been attempts by scholars to define myth. Reader (1995) sees myth as a traditional story that articulates individual and collective apprehensions and disseminates social values. Kirk (1970) opines that myth is a traditional story which has profundity and elements of imagination as part of its hallmark. Friedlander (1996) defines myth as truth interwoven with fiction insolubly. Harris and Platzer (1996) in their own opinion consider myth as a story involving gods and heroes. What can be deduced from the definitions of the scholars is that myths are stories from ancient times about people, places and events that may or may not be true. The Yorùbá people have rich oral traditions which form the basis of their literary heritage. Myth as an oral prose narrative constitutes a significant aspect of the Yorùbá oral tradition which provides vital background for scriptwriters of Yorùbá home-video films. Myth is known as ìtàn in Yorùbá, and there are many types of stories. Ìtàn Ìwásè̩ (story of ancient times) are stories that relate mostly to natural phenomenon, such as sky, moon, mountain, forest and animals. Itàn Ìsè̩ lè̩ (Historical Narratives) relate to historical events, personages, incidents and happenings that actually occurred in the past. Itàn Àló̩ is a fictional imagination of a fairy world in which facts and figures are blurred. Ìtàn Àròso̩ is fictional narratives. Ìtàn E̩ se̩ Ifá (Ifá Divination Verse) is a story about a certain character that approaches the Ifá priest for a solution to his problem. Last but not the least is Ìtàn Ìgbàanì (Legendary Story) which is about the lineage history of a particular family or personage as told orally by their progenitors or as contained in their lineage poetry. The five selected Yorùbá video films examined here are legendary stories of five historical figures and heroes, Basò̩ run Gáà, E̩ fúnsetán Aníwúrà, Ò̩ rànmíyàn, Sóde̩ ké̩ and Amúbíe̩ yá, who lived and died years ago. They were heroes in their lifetimes, and they can never be forgotten by their people because of the invaluable roles they played in the development and progress of their communities. Due to distance in time, there is a fluidity of structure created by spontaneous changes in the process of oral transmission; therefore, the legendary story remains a myth. The scriptwriters of the five selected Yorùbá home-video films have appropriated the resources of their oral tradition, including myth, by subjecting them through individual and creative forge into varied new and interesting forms for aesthetics.

Conclusion
The Yorùba film as audio-visual literature is one of the most educative means of building the society. This work has attempted a descriptive analysis of five Yorùbá video films which are replete with deployments and recreations of Yorùbá oral poetic genres. Findings reveal that the Yorùbá home-video script writers make artistic use of Yorùbá oral genres in their films through the creative exploitation of proverbs, songs, chants and mythical allusions. The mythical allusions in the selected films suggest that Yorùbá home-video films share apparent inter-textual links with Yorùbá oral poetry. This study also established that Yorùbá home-video scriptwriters deploy oral poetic genres in their films to resonate the artistic experiences of the African people. The employment of the rich Yorùbá oral poetic genre by the scriptwriters also makes the films unique and often startling. In this era of crippling globalization and technological discoveries which are down-playing the cultural and linguistic heritages of the people, there is a need to recreate the Yorùbá oral tradition for dynamic aesthetic and didactic purposes. To be globally competitive, one needs to be locally useful and relevant first, which means that a sizeable dose of indigenous knowledge, values and skill is paramount. With the scriptwriters recreation of Yorùbá oral poetic genre in their films they have been able to initiate continuity and change in the use of Yorùbá oral poetic genres. This study therefore concludes that Yorùbá film-scriptwriters and their collaborators should continue to make use of oral traditions to enhance the current narrative, and balance development that would meet the needs of contemporary and future generations while simultaneously entertaining their audience. This will add to the aesthetic splendour of the Yoruba oral arts and continually give it a mass appeal. These artistic creations are more prominent in Yoruba proverbs, songs and myths to suit the contemporary world.