This book traces Dadakuada's history and artistic vision and
discusses its vibrancy as the most popular traditional Yoruba oral
art form in Islamic Africa. Foregrounding the role of Dadakuada in
Ilorin, and of Ilorin in Dadakuada the book covers the history,
cultural identity, performance techniques, language, social life
and relationship with Islam of the oral genre. The author examines
Dadakuada's relationship with Islam and discusses how the Dadakuada
singers, through their songs and performances, are able to
accommodate Islam in ways that have ensured their continued
survival as a traditional African genre in a predominantly Muslim
community. This book will be of interest to scholars of traditional
African culture, African art history, performance studies and Islam
in Africa.
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