A Linguistic-Stylistic Analysis of Yorùbá Sports ... · PDF fileStylistics is the study of style. ... Language performs varieties of functions and a piece of language is ... The

Journal of the Linguistic Association of Nigeria Volume 16 Nos. 1 & 2 2013 (pp. 17-30)

A Linguistic-Stylistic Analysis of Yorùbá Sports Commentaries: The Case of

Amuludun 99.1 FM

Deborah Omolara Ilori Temitope Michael Ajayi

Dept. of Linguistics & African Dept. of Linguistics & African Languages

Languages, University of Ibadan Languages, University of Ibadan

E-mail: [email protected]

Every domain of discourse has certain linguistic features that are peculiar to it. Such is

the case with sports commentaries in Amuludun FM situated in Ibadan, Oyo State,

Nigeria. This paper is therefore concerned with the linguistic-stylistic analysis of

language use in Yoruba sports commentaries in the afrorementioned radio station. The

study focuses on the interrelation between language, meaning and style and also explores

literary devices inherent in Yoruba sports commentaries analysed within the systemic

functional model of grammar. The data collected were from sports commentaries on

Amuludun Radio 99.1 FM presented by Sọla Ayegbajẹjẹ and Adekọla Ọmọtọṣọ. The

findings gave an insight into the use of language in sports analysis on Amuludun Radio.

Language, as a means of communication, is one of the vital phenomenon that requires

meaning, correctness and appropriateness. There is more to language than custom and

fashion. Language therefore is seen as a signalling system that has embedded in it certain

elements that perform certain functions.

Introduction

Language is the use of a system of communication which consists of a set of sounds or

written symbols. When a language is used, it is always used in a context. What is said and

how it is said, are always determined by a variety of contextual factors namely; the

speaker, the listener or audience, the subject under consideration, medium of

transmission, etc., language therefore must be fashioned and used in a way that it does

not only communicate but also appeal to the audience or reader.

According to Lóńgé (1995:26), there are two types of language varieties; dialect

and diatype (register). He defines register as “The variety of language according to use”

in situation such as the language of political campaign, language of sport such as football

etc. An interesting feature of register is that it shows the speaker’s altitude. Mood and

feeling with respect to the subject of discourse, and the other participants in it. This is

manifested through style which itself, is an important aspect of register.

Sport is one aspect of human activities which need physical effort and skill. Sports

are games such as football and basketball and other competitive leisure activities. Apart

from the uniqueness in the language of sport, the language used by sport reporters is

distinct and different from other forms of language use. It is rich in the use of rhetoric

devices, which involves slangs, idioms, repetition, biblical reference to God, figurative

expression allusion, etc all at the same time. The use of rhetorical devices is to embellish

utterances in order to get the hailing or attention of the listeners/viewers. As it is known

that sport especially football is a game that unifies both young, old, literate and illiterate.

Ilori & Ajayi: A Linguistic-Stylistic Analysis of Yorùbá Sports Commentaries 18

In view of this, the language employed must be one that is open and accessible to all,

with modulation of style.

The Concept of Style

The concept of style has been viewed from various podiums of linguistic theories.

However, each attempt has vigorously made its own impact of what style means. Lucas

(1955:9) defines style as: “The effective use of language, especially in prose, whether to

make statements or to arouse emotions. It involves first of all the power to put facts with

clarity and brevity”.

In Lucas’ opinion, style should be concerned with the evaluation and description

of the use of language in any given context, bearing in mind the need for effectiveness in

order to achieve effective communication. Ellis (1970:67) refers to style as “a way,

manner or form of doing or saying something”. Crystal and Davy (1969) on the other

hand go beyond ordinary definition to distinguish four occurring senses of the term style

as follows:

a. Style as the language habits of an individual or how a person uses language.

b. Style as the language habits shared by a group of people at one time or over a

time.

c. Style when used in an evaluative sense and finally

d. Style used to refer to literacy language

Lucas (1955:48) stresses the concept of style as “the man” in his assertion that “literary

style is simply a means by which one personality moves others”. That is, a man’s

linguistic proficiency and rhetorical powers can make him excel in any given language

situation.

Language Style

The language style is a way of speech and/or a kind of utterance which is formed by

means of conscious and intentional selection, systematic patterning and implementation

of linguistic and extra-linguistic means with respect to the topic situation, function,

author’s intention and content of an utterance.

The Belles-letters style (artistic, aesthetic) is one of the language styles which

fulfill, in addition to its general informative function, a specific aesthetic function.

The literary style is the style of literary works implemented in all components of a

literary work, that is, on the level of language, ideas, plot, etc. All these components are

subordinated to aesthetic norms. Thus literary style is an extra-linguistic category, while

the language and belles – letters styles are language categories. We can recognize the

style of a literary school, group or generation and also an individual style of an author

(idiolect). This means that on the one hand we can name the so-called individual styles

and on the other the inter-individual (functional) styles.

Traditionally recognized functional styles are:

a. Rhetoric (Persuasive function)

19 Ilori & Ajayi: A Linguistic-Stylistic Analysis of Yorùbá Sports Commentaries

b. Publicistic (informative function)

c. Scientific (educational function)

Functional styles can be classified as subjective (colloquial and aesthetic) and objective

(administrative and scientific).

Stylistic Analysis

Stylistics is the study of style. Just as style can be viewed in several ways, so are different

stylistic approaches. This variety in style is due to the main influence of linguistics and

literary criticism. Stylistics is traditionally regarded as a field of study where the methods

of selecting and implementing linguistic, extra-linguistic or artistic expressive means and

devices in the process of communication are studied. In general we distinguish linguistic

stylistics. The division between the two is by no means easy or clear.

Linguistic-Stylistic Analysis Based on Systemic Functional Model

This model, as postulated by M.A.K. Halliday (1973), strictly tilts towards language and

its major functions. Language performs varieties of functions and a piece of language is

likely to be the result of choices made on different functional levels. This model

acknowledges three major functions: ideational, textual and interpersonal functions.

The issue of transitivity is central as Halliday itemizes that the theme of every

novel in a way is “transitivity”. The three main types of transitivity role include; process,

participant, circumstance by and large as related to the three major word group/classes

found in language: verb, noun, adverb. In English, processes are expressed by verbal

group, participants by nominal group and circumstances by adverbial group; the last often

in the form of prepositional phrases.

Theoretical Framework

Systemic Functional Grammar (SFG) was developed by M.A.K Halliday. The idea

emanated from J.R. Firth’s notions of context of culture and context of situation. The

theory views language as a form of functional behaviour, which is related to the social

situation in which it occurs. In other words, language is viewed as a social activity in

relation to the function it serves in the society. Since SFG emphasizes on the sociological

function of language, the intimacy between language and situation becomes valid. This

model (SFG) recognizes the interdependency of style, meaning and context of situation,

unlike the form-based model that the linguistic analysis is based solely on the formal

level. SFG demands that meaning and context of situation should not be neglected in the

analysis of style of any text. The claim on the relationship between style, meaning and

context of situation refers to the notion of ‘choice’ in systemic linguistic theory. The

notion of choice then is classified in a distinction between system and structure, which

also constitutes part of the organization of systemic grammar.

Halliday’s SFG accommodates a lot of levels in which a text can be linguistically

analyzed. The concept of cohesion, tie, texture, clausal analysis, etc are fundamental


aspects of stylistic analysis of text in which this research has embraced in the course of

linguistic and literary analysis of the language of sport.

Linguistic Stylistics

Linguistic stylistics is the name given to the study which looks at style from the linguistic

point of view. Scholars like Igboanusi (1995:4), Halliday (1961:242) equate stylistics

also with the study of literature. It seeks to describe the variability of linguistic forms in

language use with linguistically defined categories and methods. This is different from

the general or normal stylistic analysis, which does not have linguistic features.

According to Widdoson (1974) as cited in Igboanusi (1995:65), the classification

and scope of linguistic stylistics is given as:

… the study of the social functions of language and is a branch of what has come

to be called sociolinguistics. It aims to characterize texts as pieces of

communication. It is not part of its purpose to provide a means of discovering the

different social function of language: it is technological rather than scientific in

that it works on data provided by others. Texts are assumed to be given.

What this means is that linguistic stylistics applies techniques and concepts of modern

linguistics to the study of literature. In this regard, linguistic stylistics builds on

linguistics. Style results out of context. This is because language is part of human

activity. Several contextual features that can affect one’s style could be summarized

under the field of discourse, mode of discourse and tenor of discourse.

The mode of discourse, for instance accounts for the reason why, in the written

discourse, we are concerned with graphic and not phonic substance, according to Gregory

and Carrol (1978) as cited in Igboanusi (1995:66). Among these contextual factors, the

tenor of discourse (one’s relationship with one’s audience or readers/influences most, the

style of a writer. From these points of view, we are going to look at the style of Ṣọla

Ayegbajẹjẹ and Kọla Ọmọtọṣọ of Amuludun 99.1 F.M.

Data Presentation and Analysis

Ṣọla Ayegbajẹjẹ and Kọla Ọmọtọṣọ, the co-presenters of Yoruba Sport Commentary on

Amuludun 99.1 FM employ the same method or pattern for their presentation. In their bid

to reach people of different cadre, educate and inform them through humour make use of

various functional styles and literary elements. Few of these, shall be examined especially

the mostly used ones.

Literary Devices

The literary devices commonly and mostly used by Adekọla Ọmọtọṣọ and Ṣọla

Ayegbajẹjẹ during the course of their presentation will be discussed below:


Rhetorical Questions

Richard, Platt and Plait (1992:136) defines rhetorical question as “a forceful question

which has the form of a question but which does not expect an answer”. Going by this

definition, rhetorical questions are questions for which the speakers already have the

answer (or they are self evident) but sarcastically ask them to discredit the opponent.

Consider the extracts below:

Ṣé èwòn jọlé ni? “Can the prison be compared to house?”

It is a question asked in relation to Oscar Pistorius’s case when there were speculatins he

could be sentenced to prison as an aftermath of the judgement of the court in the

allegation of murder levelled gainst him. He employs this to drive home the point that no

other place can be like house.

À bé ń sùn? “Are you sleeping?”

This he uses to call the attention of his listeners to be attentive and to follow his

commentary. It is a way of attracting the attention as the commentary continues.

Ta ló sọ péró? “Who said it is a lie?”

This shows that the presenter is saying already known fact that nobody can deny it,

though hard to believe. The presenter also uses this to give the authenticity of his

commentary.

Slang

Slang expressions are expressions that express sense of intimacy and solidarity by

innovative and jocular language conveying a sense of liberation from a rigid observation

of rules and the formal standard form of language in order to create a relaxed social

atmosphere for free peer interaction. Lóńgé (2003) sees slang expressions as idiolect used

between close friends especially of similar age or family membership or social group.

Consider the extracts below:

Ká máa jára wa síi “Let us inform ourselves”

This expression is a slangish expression that involves semantic shift. In the literal sense,

“já” is to cut, but in this context, it is used as a slang to maen inform.This is to give a

vivid report on the development in the world of football so far as the reporter is doing

Ó dáa fòrò ó lè! “They should stop bragging”

It means they should forget about the issue and talk about something new.


Gbó sé è wò “Test the ability”

This is used to say that they should examine the performance of the new set of players.

Kí wón stop ṣe béè “They should stop doing that”

It means they should stop or put an end to their vain boasting and face the reality of the

situation at hand. The above extracts consist of words, expressions and meanings that are

informal and used to show intimacy and solidarity.

Idiomatic Expressions

This is a phrase or expression whose meaning is not obvious through the knowledge of

the individual, meanings of the constituent words but that which must be learnt as a

whole. Some of idiomatic expressions extracted are below:

Ó mi àwòn “He scored (a goal)”

The literal meaning of the expression above is to “shake the net” but in the commentary it

is used to mean to score a goal.

Fi àgbà hàn “To defeat”

This is used to show how a team mesmerizingly deal and defeat her opponent on the field

of play. In the Yoruba context, àgbà connotes “elderliness” associated with eldely ones.

The elderly ones in the Yoruba world are such that are accorded respect and admiration

for their wisdom, strength and ability which make them “unbeatable” in any test or

contest of wit with the younger ones. Therefore to “Fi àgbà hàn” is to show superiority

over an opponent which results in the defeat of such an opponent.

Fi àdàgbá1 rọ “Put an end to something”

It is used to drive home the point that Emmanuel Emenike stop playing for the moment

because of the injury he sustained during the match

Chelsea Ṣe bẹbẹ lánàá “Chelsea Performed excellently well yesterday”

It is used to explain the display of talent or ability by the Chelsea the previous day.

Jáwé Olúborí “To win”

Fi ga2 gbá ga “To compete”

It is a common register among the sport reporters. It is used to show different actions or

events that happen during a football match.

1 A farm implement 2 The short form of “iga” shoulder


Repetition

This is deliberately saying the same thing over and over again for emphasis. Repetition of

a particular word, phrase or an idea helps the listener to memorize the word, phrase or

idea. Consider these:

Gbó séè wò “Test the ability

Gbó séè wò Test the ability

Só máa dún tàbí kò ní dún Will it work or not

Gbó séè wò Test the ability”

This was used to explain the reason why John Obuh, the coach for under seventeen

(Flying Eagles) in a friendly match againt Egypt featured new players that he had not

paraded before. The ‘dún’ sound or ‘ko ni dún’ not sound used above means the

possibility of the player performing excellently well or not.

Lánàá! “Yesterday!

Lánàá! ! “Yesterday!!

Mo ní lánàá òde yìí I said, this very yesterday”

This is used to lay emphasis on the football match played “yesterday”, that is the previous

day not any other day. The way this is used puts the listeners in suspense, in that, it

arouses their interest on what happened the previous day. It potrays the currency of the

information to be dispensed which obviously the listeners are eager to get. “The event

took place just yesterday and not any other day”.

Wón kan àwon ojúgbà wọn lábùkù

Àbùkù olóroǹbó

Àbùkù tó ta dágbárí

Àbùkù tó muta yéríyérí

Àbùkù tó ta gbáà

Here the ‘Àbùkù’ “disgrace” is repeated to show the degree or grade of the disgrace and

different words were used to ascertain this. The reporter is just using this to report how

disgraceful the defeated team usually feel after their defeat.

Use of Proverb

A proverb is a popular short saying, with words of advice or warning. According to

Norrick (1985), a proverbial image is a concrete description of a scene, which can be

generalized to yield an abstract truth. Proverbs are vital ingredient in the cooking of the

work. Consider the following:

Ẹni tí kòkó rè bá yè ló mòó ló “He whose cocoa seed germinates is seen as

an expert farmer”.


This is used to say that only the victorious team has the mastery of the game. This is in

line with the ideology that “No matter how hardworking a person can be, as long as there

is nothing to show for it, he remains a never-do-well. The reporter uses this, to refer to

who or the team that has won or emerged victorious in a football match, even when such

a team has not put up an outstanding performance.

Metaphor

When a quality or action of one kind of thing is assigned to another, it is known as

metaphor. Halliday (1985:319) generally refers to metaphor as a “number of related

figures having to do with verbal transference of various kinds”. Metaphor is also used in

a more specific sense to metonymy or synecdoche. Consider the extract below:

Wón sọ Barcelona dìrú pètè “They turned Barca to smashed locust beans”.

Barcelona is referred to as mashed locust beans used for cooking. This simply means that

Barcelona was relegated to nothingness because they were defeated.

Simile

Simile is the comparison of one thing to another. If the fact of resemblance of certain

things is explicitly signaled by word such as ‘like’ or ‘as’ it is considered to be simile.

For example:

Ó wà mí wá sórí ètò bí òróró Sèmè “He drove me to the studio like Seme’s oil”

It means that the reporter’s coming on air is likened to the way and manner, vegetable oil

from Seme is being taken to its destination. There is a comparison of attributes between

what visits the reporter in the studio and Seme’s vegetable oil. Semen is a city in Benin

Republic notably known for her deal in vegetable oil.

Ó ki pópó bí ìsàlè jòlóòfù “It is as thick as the bottom pot of jollof rice”

The seriousness of the subject of discussion is compared to the thickness and richness of

the lower part of jollof rice. These expressions were employed by the reporters to create

humor and more importantly to show rich the information to be passed across is.

Parallelism

Parallelism exists in a text when there is some form of similarity in the component or

meaning of words. Yankson (1987:14) further ascertained to this that parallelism is meant

by the use of pattern repetition in a literary text for a particular stylistic effect. Parallelism

is also of simultaneous melodic lines. That is maintaining constant pitch differences.

Consider these extracts:


Wón kan àwon ojúgbà wọn lábùkù they disgraced their opponent

Àbùkù olóroǹbó A very great disgrace

Àbùkù tó ta dágbárí A soul-rendering disgrace

Àbùkù tó muta yéríyérí An indellible disgrace

Àbùkù tó ta gbáà An immeasurable disgrace

They publicly disgraced their opponent. Here the ‘abuku’ is repeated to show the degree

or grade of the disgrace and different words were used to ascertain this. The reporter is

just using this to report how disgraceful the defeated team usually feels after experiencing

defeat. He also employed the same device to show how joyous and capable the victorious

team usually feels. It also reveals the display of great skill that brings the praise from

their fans:

Ó jáwé olúgbayì, ò dolú gbayì he plucked the leaf of honour and became honoured

Ó jáwé olúgbèyẹ, ò dolú gbèyẹ he plucked the leaf of honour and became honoured

Ó jáwé olúborí, ò dolú borí he plucked the leaf of victory and became victorious

Pun

Leech (1969) describes pun as an ambiguity, specifically a foregrounded lexical

ambiguity. Apart from its humorous and witty effects; sport makes use of pun for easy

accessibility of utterance. The whole idea behind pun is playing with words. Consider the

extract:

Ẹní tí mùṣè mùṣè rè dá mùṣè jù “the most outstanding on the field of play”

This is used to point out the most qualified player because of his ability and performance.

Traditional Elements

Tradition elements are also employed to bring out the beauty of the Yoruba language in

sport commentary. Few of the commonly used are:

Incantation: Olatunji (2005:139) sees incantation as a restricted poetic form, cultic and

mystical in its expectations. Once incantation is obtained it becomes the person’s

property because it is seen as a source of mystical power and the attainment of

metaphysical manhood by the Yoruba, it is jealously guarded by those who have acquired

it. Incantation can be chanted or recited, it can also be seen as applied literary art. For

example in one of the commentaries, the reporter says:

Abéré ìí kọhùn aṣọ A needle does not reject the command of the cloth

Kòǹkò ìí kọhùn odò A toad does not reject the command of the river

Èyin tó layé ẹ má ṣe kọhùn mi You the custodians of the world, do not neglect my

voice


This is a way of seeking permission or paying homage for a brilliant performance by the

reporter. It is a common practice among Yoruba to pay obeisance to the ancestral spirits

before any performance. This is in consonance with the Yoruba culture in which an

artiste pays obeisance to the power that be before embarking on his entreprise.

Panegeric: This is the most popular of Yoruba oral poetic genres, a fact which is attested

to by the several collection of the panegeric. It is a feeling of solidarity with one’s blood

relations and of pride in one’s ancestry is generated by Oriki Orile. It is used to tell where

a person originates from, how powerful his ancestors were, how wealthy they were, and

all the noble things that they had done.

Take for example: When the reporter was recognizing members of his crew, he

said:

Ṣe b’ẹyin lọmọ Àjaó

“You are the descendants of Ajao3”

Ọmọ atègò mọlẹ kí bè ma ṣẹjẹ

“The one that steps on the bottle but does not experience any bleeding”

The above panegeric is talking about the brave action of stepping on bottles without the

feet bleeding. The presenter would use this panegyric line to extol and commend the

support he enjoys from members of his crew.

Prayer: This is a traditional element used to communicate with the divine being (God)

through deities; it is believed by the Yoruba that the deities are the intermediaries

between God and man.

Olúwa jé kí n rí ìyónú rẹ gbà

Èdùmàrè gbà mí má jẹ n sìṣe láyé tí mo wá

“Oh Lord be gracious unto me”

“God help me, let me not make mistake in my life”

The reporter utters this for a divine permission not only to present but also to perform

excellently well.

Song: This is another way by which the Yoruba use melodious voice to convey their

thought and joy etc.

Kí ni èsẹ yín, ta ni ẹ ṣè o? “What is your offence, who did you offend?

Arsenal, kíni èsẹ yín o? Arsenal, what is your sin?

Ta ni ẹ ṣè o? Who did you offend?

Ṣe béyin lọmọ Àjàó Are you not the child of Àjàó

3 A Yoruba name


This song is sung by the reporter (also in form of a rhetorical question) to question the

incessant failure and defeat of Arsenal Football team, and their overall performance since

the beginning of this football season.

Linguistic Devices

Phonological Deviation: This is a conscious stylistic device and may be contrived in

various ways. Elision or deletion of consonant or vowel sound from a word is referred to

as consonant and vowel dropping. This is a device that is common or peculiar to fast

speech in Yoruba. Consider the extract:

1a. Abéré ìí kohùn aṣọ

Kòǹkò ìí kohùn odo

b. Abéré kìí kohùn aṣọ

Kòǹkò kìí kohùn odo

A needle does not reject the command of the cloth

A toad does not reject the command of the river

(ia) is the contracted form of (ib). In (a) the ‘k’ in kii (can’t) is deleted as well as the

vowel ‘o’ of ohun (voice). The dropping did not alter the meaning of the utterances

because it is a common and acceptable phenomenon in the language.

Code Mixing: This is characteristic of language use in bilingual or multilingual speech

communities. Consider these extracts from the commentary:

Ṣé è ń follow miì?

Ó ti sure jù

Kí wón stop ṣe béè

“Are you following me?”

“It is very sure”

“They should stop doing that”

Here, the presenter(s) code mixes to be able to reach the targeted audiences – the literates

and non-literates.

Lexical Borrowing: This is a means by which the vocabulary of a language expands. It

involves borrowing of words from another language with which it might have had contact

with earlier. The reporters employ this means as well, especially from English and Hausa.

For instance:

Mítà “Meter” English

Fìtìnátì “Fitinah” Hausa


Fìtìnátì means problem. Here the reporter uses this word to tell of the problem that Oscar

Pistorius is into as a result of his fiancé’s death.

Some other Noted Issues

Some things are worth noting in this study which make this work fascinating. These will

be briefly discussed below. Standard Yoruba is employed but the presenters occasionally

switch to the use of dialect just to garnish and create humor in their utterances. Consider

these:

Egba Dialect Standard Form Gloss

1. È má wò mí È máa wò mí Be watching me

Sàídì Abòdúnrìn Sàídì Abòdúnrìn

È má wò mí o! È máa wò mí o!

2. Má, la! Má, lọ! Do not

Má, la!! Má, lọ!! Do not

Má, la!!! Má, lọ!!! Do not

Tàgbà mọlè Tàgbà mọlè Step on elders’ toes

Another thing that is worth noting is the slang used. Many of the slang commonly used

are in form of code-mixing. We think the target audience are the youths, both literate and

illiterate. Consider the following:

Kí wọn stop ṣe béè

Forí kó o finally

Wón ló ti sure jù

Also, repetition is used for the sake of emphasis. Many a time, the presenters repeat

rhetorical questions garnished as well with code-switching. Consider these:

À béè ń sùn? “Are you sleeping?”

À béè ń sùn? “Are you sleeping?”

What can fàá? “What can cause this?”

Rhetorical questions are uniquely used by the reporter even with other devices or

traditional materials or elements to ensure the audience are carried along in the

programme. For example, it is used in a song as follows:

Kí ni èsẹ yín,

Ta ni ẹ ṣè o!

It is used in code-mixing such as

Séè ń follow mi?


It is used in repetition as in:

Só maa duń tàbí kò ní dún? Will it be palatable or not?

À béè ń sùn? Are you sleeping?

À béè ń sùn? Are you sleeping?

These depict the versatility of the device in the language of sport by the reporter.

Conclusion

We have been able to establish that language use in sport commentary has certain

characteristic features which distinguish it from other varieties of language use. Common

as some of these features may be in everyday situation, they remain very unique and

functional. We have seen the creativity of the presenters. Creativity, though experimental,

may be said to be glamour and unique in the way they are effectively utilized to capture

the interest of the listeners. This is a peculiar tradition and to an extent, outstanding in its

entirety.

Tradition is a matter of creativity and a very serious work to enliven the state of

man. The language of sport is indeed rich and saturated with linguistic features.


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A Linguistic-Stylistic Analysis of Yorùbá Sports ... · PDF fileStylistics is the study of style. ... Language performs varieties of functions and a piece of language is ... The