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Femi Osofisan

Femi Osofisan, born Babafemi Adeyemi Osofisan on June 16, 1946, in Erunwon, Ogun State, Nigeria, is a prolific Nigerian playwright, poet, novelist, and critic whose work has profoundly shaped post-colonial African literature. Known for his incisive critique of societal issues, Osofisan has produced over 60 plays, four prose works, and numerous poems under the pseudonym Okinba Launko, earning him global recognition, including the 2016 Thalia Prize from the International Association of Theatre Critics, making him the first African recipient.

His Catalogue (of works): 

Literary Output and Themes

Osofisan’s oeuvre is vast, with over 50 plays written and produced, roughly half of which are published. His works, such as Women of Owu (an adaptation of Euripides’ The Trojan Women), Tegonni: An African Antigone, and Who’s Afraid of Solarin? (adapted from Gogol’s The Government Inspector), tackle themes of political corruption, gender dynamics, and social justice. His plays often blend African traditional performances with surrealism, exploring the conflict between good and evil while advocating for societal reform. A 2013 study highlights his focus on graft and corruption, noting that plays like Who’s Afraid of Solarin? (1978) satirize Nigeria’s systemic bribery, drawing parallels with Imperial Russia’s political decay.

Gender and Feminist Perspectives

Osofisan’s portrayal of women stands out in African literature. Unlike many male Nigerian writers criticized for marginalizing female characters, Osofisan’s works, such as Morountodun and Once Upon Four Robbers, depict women as complex, autonomous agents capable of leadership and moral ambiguity. A 2009 study praises his feminist consciousness, noting that female characters like Alhaja in Once Upon Four Robbers and Titubi in Morountodun challenge stereotypes, contributing to his reputation as a feminist ally. His 2000 keynote address to the Women Writers of Nigeria emphasized his commitment to gender equality, advocating for women’s roles in peace-building and conflict resolution, as seen in Morountodun.

Pan-Africanism and Social Critique

Osofisan’s plays, such as Nkrumah-Ni… Africa-Ni and Reel, Rwanda, reflect his commitment to Pan-Africanism and anti-colonialism. A 2018 analysis underscores his advocacy for black unity and Afrocentrism, portraying him as a playwright who uses theatre to arouse revolutionary consciousness against imperialism and oppression. His 2013 play All for Catherine, an adaptation of Cao Yu’s Thunderstorm, critiques neocolonialism in Sino-African relations, highlighting anti-Chinese sentiment in Africa.

Impact and Recognition

Osofisan’s influence extends beyond Nigeria, with his plays performed across Africa, Europe, and the United States. His academic career, spanning 34 years at the University of Ibadan, where he is now Professor Emeritus, has shaped generations of scholars and artists. His accolades include France’s Officier de l’Ordre Nationale de Mérite and the Nigerian National Order of Merit in the Humanities. A 2022 article in The Republic describes him as a leading figure of Nigeria’s second-generation post-colonial writers, noting his “gentle but forceful” voice in addressing Nigeria’s socio-political challenges.

Critical Reception and Legacy

Osofisan’s work has garnered significant scholarly attention, though full-length studies remain limited despite his stature. His plays, regularly premiered at the University of Ibadan, are lauded for their political commitment, with a 1979 Daily Times article calling him an “apostle of social resolution.” His adaptations of European classics into Yoruba contexts, as seen in Women of Owu and Tegonni, demonstrate a dynamic intertextuality that bridges cultural divides. A 2021 lecture by Osofisan lamented Nigeria’s descent into insecurity and dystopia, reflecting his ongoing engagement with national crises.

Conclusion

Femi Osofisan’s extensive body of work, rooted in empirical critiques of corruption, gender inequality, and neocolonialism, cements his legacy as a transformative figure in African literature. His ability to weave Yoruba traditions with global narratives, coupled with his feminist and Pan-Africanist ideologies, continues to inspire and challenge societal norms, making him a vital voice in the fight for justice and cultural reaffirmation.

-Grok & Jodekss 

The current Oba (King) of Erinmo Ijesa is Oba (Dr) Michael Odunayo Ajayi, Arowotawaya II. He ascended the throne in July 2014. He is also referred to as the Elerinmo of Erinmo Ijesa Kingdom.

Erinmo-Ijesha, a historic town in Osun State, Nigeria, is renowned as the “land of spiritual mountains with cultural diversity.” Nestled in the heart of Yorubaland, this serene and spiritually vibrant community is celebrated for its sacred mountains, rich cultural heritage, and agricultural prowess, positioning it as a potential food basket of Osun State and a spiritual hub often likened to the “Jerusalem of Nigeria.”

Historical Origins and Migration

Founded around 1100 AD by Obalufon Alayemore, the fifth Ooni of Ife, Erinmo-Ijesha is located in the Oriade Local Government Area, approximately 5 km from Ilesha. Covering over 3,000 square kilometers in a rainforest belt, the town is situated on an elevated plain, surrounded by mountains and bordered by Efon Alaaye (east), Iwaraja (west), Ijeda (north), and Omo (south). Its fertile soils and tropical climate support crops like yam, cassava, maize, and cocoa, sustaining a vibrant agricultural economy.

Erinmo’s people are direct descendants of Oduduwa, the Yoruba progenitor, through Obalufon Alayemore, who fled Ile-Ife with loyalists due to a misunderstanding with his brother. Two contrasting oral traditions explain the town’s name. The first suggests that while fleeing Ife, Obalufon encouraged his weary followers with “Erin” (“Walk”), and upon settling, they used palm fronds (“Imo”) for shelter, forming “Erin-Imo” (Erinmo). The second narrative ties the name to the people’s astonishment at Ilobi, where poisoning of a stream caused deaths, prompting them to exclaim “Emimo re” (“unusual things happened”), which evolved into Erinmo.

Initially settled at Ita Araye and later Ilobi, the community faced internal strife between Obalufon’s sons, Agidanyin and Owari. Agidanyin, a charismatic warrior with potent charms, clashed with Owari, who poisoned a stream, forcing Agidanyin to lead his people to a new home. Guided by a spiritually powerful dog, as directed by the Ifa oracle, they settled at the present-day Odo-Oja quarter, where a ritual tree was planted near the Elerinmo’s palace. Archaeological evidence from the Ijesha region suggests pre-Yoruba settlements as early as 500 AD, indicating that Erinmo’s cultural practices may have integrated earlier traditions.

Showcasing Erin-Ijesa and Erin Waters

Warrior Heritage and Military Contributions

Erinmo-Ijesha boasts a formidable warrior legacy, particularly during the 19th-century Yoruba wars, including the Kiriji War (1877–1893), one of the longest intra-Yoruba conflicts. Agidanyin, a fearless warrior, participated in inter-tribal wars, leveraging his spiritual charms and leadership. His son, Alula, succeeded him and fought alongside renowned Yoruba generals like Ogedengbe of Ilesha and Fabunmi of Okemesi. Erinmo’s hilly terrain served as a natural fortress and training ground, where warriors honed their skills in combat and tactics, often using herbal concoctions believed to confer invincibility.

During the Kiriji War, Erinmo’s strategic location near Ilesha made it a key defensive outpost. Its warriors contributed to regional efforts to resist external incursions, including conflicts with Ibadan and Ekiti forces. The town’s military prowess was enhanced by its blacksmiths, devotees of Ogun (the god of iron and war), who crafted weapons and charms. Oral traditions recount Alula’s exploits in battles, where his alliance with Ogedengbe bolstered Ijesha resistance. This warrior heritage remains a source of pride, celebrated in festivals through storytelling and Egungun masquerades.

Spiritual Significance and Sacred Mountains

Erinmo’s spiritual allure stems from its sacred mountains, known as Ori Oke, which draw pilgrims from Nigeria and beyond seeking healing, protection, and divine guidance. Mountains like Ori Oke Ato are tied to specific deities or ancestors, with rituals involving offerings of kola nuts, palm wine, or animal sacrifices led by Ifa priests. The town is surrounded by eight rivers—Odo Aboke, Odo Aayo, Odo Atunrun, Odo Arioyun, Odo Aiya, Odo Aroolo, Odo Mifunfun, and Odo Eresi—believed to possess medicinal and cleansing properties. These rivers, fed by springs and seasonal rains, support both spiritual rituals and household needs, though deforestation poses a threat to their ecosystems.

Before Christianity and Islam, Erinmo revered deities like Obalufon, Ogun, Osere, Elemilale, Edimo, Yeye Atunrun, and Irokin. Yeye Atunrun, linked to fertility and water, was central to river-based rituals, while Ogun underpinned the town’s warrior culture. The transition to modern religions involved syncretism, with Christian practices incorporating elements of Ifa divination. Prophet S.K. Abiara, a native of Erinmo and founder of the Christ Apostolic Church, has significantly shaped the town’s Christian identity.

Cultural Diversity and Festivals

Erinmo-Ijesha is a melting pot of ethnicities, including Yoruba indigenes and non-indigenous groups like the Oyo, Igede, Idoma, and Isobo from the Niger Delta, who have integrated through intermarriage and trade. The Elerinmo in Council includes eight Alakoso chiefs, some representing these groups (e.g., Alakoso Oyo, Oba Igede), ensuring inclusive governance. This diversity is showcased during the annual Erinmo Day festival, where communities display their unique dances, cuisines, and languages, accompanied by bata and dundun drumming and Egungun performances.

The Olokun festival, honoring the deity of wealth and the sea, involves processions to rivers or sacred groves, while the Ijesu (new yam) festival celebrates agricultural abundance with communal feasts and prayers for prosperity. These festivals reinforce Erinmo’s cultural heritage and honor ancestors like Agidanyin, whose legacy is recounted through oral storytelling.

Modern Developments and Governance

Under the reign of His Royal Majesty, Oba Michael Odunayo Ajayi, Arowotawaya II, the Elerinmo of Erinmo-Ijesha since 2021, the town has seen efforts to revitalize Yoruba culture. Oba Ajayi spearheaded the maiden All Yoruba Oba’s Conference in Ile-Ife, strengthening ties with the Ooni of Ife and other monarchs. Erinmo’s three quarters—Oke Ode, Odo-Oja, and Igbajo-Erinmo (recently granted autonomy under the Aringbajo)—and villages like Araromi, Ayegunle, and Medayese are governed by the Elerinmo, who appoints Baales to oversee them.

Modernization has brought improved roads, enhancing tourism to the spiritual mountains, though electricity and water access remain challenges. Educational institutions like Erinmo Community High School and church-led programs by the Anglican and Christ Apostolic churches bolster social development. The town’s hospitality extends to non-indigenes, including Hausa traders and Igbo artisans, who contribute to its economy through farming and crafts.

Connections and Diaspora

Erinmo shares historical ties with sister towns like Erin-Ile, Erin-Osun, and Erin-Ijesa, all founded by Obalufon Alayemore’s descendants, reflecting a shared Yoruba heritage. The town’s diaspora in cities like Lagos and Ibadan supports development through remittances and cultural associations. Erinmo’s historical tribute to Ife underscores its role as a cultural satellite of the Yoruba heartland.

Challenges and Future Prospects

Environmental concerns, such as deforestation and erosion, threaten Erinmo’s rivers and hills, prompting local conservation efforts. The town’s growing reputation as a spiritual and cultural destination suggests potential for economic growth through eco-tourism and pilgrimage. However, balancing modernization with cultural preservation remains a key challenge.

Erinmo-Ijesha stands as a testament to Yoruba resilience, blending its warrior past, spiritual depth, and cultural diversity into a vibrant community that continues to thrive in modern Nigeria.

Sources:

- Original Text: The Nation, edited by Emmanuel Kayode aka Jodekss Gloatkenf.

- Web Sources: Academic studies on Yoruba history (e.g., University of Ibadan archives) and Osun State geography.

- X Posts: Recent mentions of Erinmo’s tourism potential, though specific visitor data is unavailable.

- Empirical Context: Regional studies on Ijesha culture, ecology, and Yoruba warfare.

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'13

Life's a quest for maybe meaning?

To know, witness, realise the desired

Paradoxes curse to consider reasoning

Your needs to better, ace the potholes t(here) littered

You pace, pause, angered n' happy towards to solve

Suddenly, a juncture involving to volve

You consider common strait then your fate twixt 

The truth of birth to dirt our treat 

Then there's the need to retain relevance referent?

©Jodekss Gloatkenf 

Source: Google

I can't tell from afar what it means to be self-taught in a particular field of study. The problem usually is not with the term "self-taught", the primary issue is hinged on assessment and delivery. what follows usually is a question. Self-taught differs in meaning, method, and mentorship. Self-taught means to educate oneself in a particular field without the helping hand of a teacher, but with the help of resources and the internet. The above definition has been extended or paraphrased. When self-taught professionals today didn't get a mentor to teach them directly the tenets of what they are doing or learning. They relied solely on the resources made available via the distribution of information. However, this doesn't mean that self-taught individuals do not appreciate the input of teachers or instructors. It could be that they don't have any at their disposal. 

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