ABSTRACT

Túndé Kèlání is a Yorùbá filmmaker whose auteurial vision deploys Yorùbá cultural dynamics towards the understanding of not only Yorùbá people’s beingness, but also of their place in the plural existence of the Nigerian state. This article takes seriously Túndé Kèlání’s philosophical sensibility, grounded in the Yorùbá worldview, as a means by which Kelani relates with the world. The article argues that, although Túndé Kèlání’s cultural philosophy serves as the basis for his cinematic vision and his search for cultural authenticity, his neotraditionalism fails to sufficiently interrogate the Yorùbá concept of àsà and its implication for what it means to be Yorùbá in the world today. This significantly undermines the capacity of his auteurial vision to project cinematic possibilities that nevertheless extend what it means to be Yorùbá in the world.

摘要

TúndéKèlání是约鲁巴州的电影制片人，他的自然观将约鲁巴人的文化动力运用到不仅理解约鲁巴人的存在，而且也了解他们在尼日利亚国家多元化存在中的地位。本文认真考虑了基于约鲁巴世界观的通达·凯兰尼（TúndéKèlání）的哲学敏感性，以此作为凯拉尼与世界联系的一种手段。文章认为，尽管通达·凯兰尼（TúndéKèlání）的文化哲学是其电影观和对文化真实性的追求的基础，但他的新传统主义未能充分审视约鲁巴的“àsà”概念。以及它对当今世界上约鲁巴人的意义。这极大地削弱了他的非主流眼光投射电影可能性的能力，然而，这种可能性扩大了在世界上成为约鲁巴人的含义。