In this chapter, I examine the transformation of the oral poetic genre – oríkì (praise poetry/attributive epithets) into the works of a significant number of contemporary playwrights. Using the art of court praise singing as a case study, the chapter shows how the features of the genre – citation of names, predominant use of kinship terminology, references to epithets, historical allusions, and lineage oríkì – are maintained in the recreation of genre in the works of contemporary playwrights. Thus, the study suggests that court poetry remains a living tradition in modern society, not only in the palace of paramount rulers, but also in the writing of contemporary playwrights who draw inspiration from this aspect of oral tradition for their dramatic creation. This obviously implies a determination on the part of the concerned playwrights to sustain the communicativeness of orality in the written medium; thereby making the oral material so transferred reach out beyond the limitation of its written quality to speak as the oral text does to the audience.