The essay offers a decolonial reading of the thought of Ọ̀rúnmìlà, the ancient legendary Yorùbá African messenger and interpreter of the spiritual tradition of Ifá with the aim to address the problem of hegemonic languages (such as English and French) and epistemic bias that have affected the Yorùbá intellectual tradition. The essay argues that reflection on the deep history of Yorùbá and the applied philosophy of Ọ̀rúnmìlà can better clarify the problem of language and epistemic injustices that European modernity has (...) generated in modern Africa. The essay therefore explores what could be described as the interaction of nature-culture in the Yorùbá African intellectual tradition that continues to be silenced and distorted by imposed hegemonic languages and cultures. Through a new reading of the thought of Ọ̀rúnmìlà within the context of Ifá, the essay highlights how the problem of language and epistemic injustices disrupts the continuity of inherited African philosophical and historical traditions in modern times. Ultimately, such reading aims at revealing the contribution of the Yorùbá intellectual tradition to the global philosophical and historical discourse. (shrink)

This article discusses a relationship between the philosophical praxis of Ọ̀rúnmìlà and aesthetics of Èjìgbèdè Ẹ̀kú (i.e., the costume of the living and the costume of the dead) in Saworoidẹ (dir. Túndé Kèlání’s, 1999). I construct the Yorùbá/Ọ̀rúnmìlà philosophical method of Èjìgbèdè Ẹ̀kú in the contemporary Nigerian narrative film as case study of how contemporary African filmmakers, like their oral artiste counterparts, continue to articulate their inherited traditions via cinematic storytelling. In doing that I draw on what I call the (...) Ọ̀rúnmìliàn “parable of Eégún” (masquerade) to establish what I designate the philosophical/therapeutic questions of Èjìgbèdè Ẹ̀kú; and thus, argue that Èjìgbèdè Ẹ̀kú gives “presence to non-presence” so that the living/present can dialogue with the dead/past as a way of healing, re-moralizing, and/or decolonizing the living through cinematic storytelling. I conclude that Ọ̀rúnmìliàn film does not solely rekindle, and teach us, a valuable aesthetic practice of self-reflection or self-reevaluation but also decolonize and de-westernize film-philosophy. (shrink)