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His name is referred to in recent sources as George Bamidele Arowoogun, the patronymic added as a surname. Growing up in a successful carver s household Bandele became apprenticed in his teens to one of his father s former assistants Oshamuko also from Osi Ilorin one of a group of villages called collectively Opin which was within the Ekiti region Both his familial ancestry and his artistic lineage He was the fifth-generation son of a noted traditional wood carver, Akobi Ogun Fakeye.

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The elder Fakeye had also worked as a babalawo , a traditional Ifa diviner-priest. He acquired the name Lamidi, an abbreviated form of Abdul Hameed, when he converted to Islam as a teenager. By both his parents had died leaving him without direct parental support although they had secured his early education in the local colonial schools he later completed high school on his own Not having had a carving apprenticeship as a youth Lamidi was later forced to teach himself the rudiments of wood sculpture Under the terms of the licence agreement, an individual user may print out a single article for personal use for details see Privacy Policy and Legal Notice.

Oxford African American Studies Center.

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Location: Archives of Traditional Music. Resource available to authorized IU Bloomington users on or off campus Scopus. Due to inadequate knowledge, dearth of materials, and the difficult nature of the Sufi Arabic literature, Sufism suffers misunderstanding and neglect.

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Earlier works on Sufism in Ilorin are not holistic, instead concentrating on individuals and their works and further compounding this poor understanding. This project aims to correct this by study Sufism in a holistic and simplified way. Attention is given to the way content and form of Nduumo pooetry portray gender issues. The study further investigates how style and figurative features project, reflect, and construct gender in relation to women's emancipation dispensations.

It contends that the performance of Nduumo Poetry is a situated artistic and social practice that women use to tackle societal problems and challenges they face.


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It further examines women's search for identity, freedom, and empowerment and how resistance manifests in their quest for liberation from patriarchal hegemonies. The objective of the study is to explore the courtroom setting and discourse practices in order to see whether, how, and the extent to which discourse and practices in Tanzanian courts affect the search for justice. The research questions are: 1 How do lay witnesses and opposition counsels exercise control of turns at talk, topic initiation, maintenance, and development during the adversarial speech event of cross-examination?

The data are collected through observation and audio recording, after which the spoken texts are transcribed and then analysed. The analytical framework for this study is Critical Discourse Analysis, basing on Norman Fairclough's three-dimensional framework—looking at discourse as text description , discourse as discursive practice interpretation , and discourse as social practice explanation.

Though 'Kplejoo' by its designation is performance oriented, most of the earlier scholarly attention it attracted leaned heavily on anthropology and ethnography. The Kisi and Pare still make pot until today.