Re: USA Africa Dialogue Series - Fwd: Wole Soyinka's Art as a Psychological, Spiritual and Philosophical Resource

I quite agree with broda Abolaji Adekeye. I was shocked when IBK came up with his "senior boy" big stick and completely got his focus derailed from issues to personality attack. That was too personal for comfort, it is to say the least, uncalled for and unwarranted. 

Yes, one might quite disagree with Toyin Adepoju or anyone else on this forum on any issue for that matter, including Gen Buhari's presidency. That is the beauty of democracy. We cannot pretend to be more Catholic than the Pope at this point. Come May 29, Gen Buhari will be President over all Nigerians, not only on people or States that voted for him. This is because Nigerians have spoken with their votes. We must all now join hands together to build a stronger country. There should be no room for any castigation.

 Broda  Adepoju Toyin has contributed meaningfully to issues on this forum, and should be encouraged to continue to do so, not gagged. I respect IBK, but I am not particularly happy with this outing, and no excuse can justify his outburst on Toyin.‎ Let us be patient, tolerant and accommodative of  others' opinions, novel ideas, etc., even when they appear to make no sense to us.

Ademola O. Dasylva.
‎
Sent from my BlackBerry 10 smartphone.
  Original Message  
From: Anunoby, Ogugua
Sent: Tuesday, April 21, 2015 10:52
To: usaafricadialogue@googlegroups.com
Reply To: usaafricadialogue@googlegroups.com
Cc: writerswithoutborders@yahoogroups.com; nigerianauthors@yahoogroups.com; josana@yahoogroups.com; WoleSoyinkaSociety@yahoogroups.com; raayiriga@yahoogroups.com; yanarewa@yahoogroups.com
Subject: RE: USA Africa Dialogue Series - Fwd: Wole Soyinka's Art as a Psychological, Spiritual and Philosophical Resource

Strongly critical but instructive counsel.
Politics or any other pursuit should not, never blind anyone to the dignity and humanity of anyone else including those we may disagree with.
I like to think that conversations in this forum should be about shared edification, enlightenment, and discovery, not castigating, condemning, or humiliating others.
Name calling is a crude and an ineffective instrument of intelligent conversations. It is seldom helpful to the name caller. It undignifies them instead.

oa

-----Original Message-----
From: usaafricadialogue@googlegroups.com [mailto:usaafricadialogue@googlegroups.com] On Behalf Of Abolaji Adekeye
Sent: Tuesday, April 21, 2015 9:01 AM
To: usaafricadialogue@googlegroups.com
Cc: writerswithoutborders@yahoogroups.com; nigerianauthors@yahoogroups.com; josana@yahoogroups.com; WoleSoyinkaSociety@yahoogroups.com; raayiriga@yahoogroups.com; yanarewa@yahoogroups.com
Subject: Re: USA Africa Dialogue Series - Fwd: Wole Soyinka's Art as a Psychological, Spiritual and Philosophical Resource

Ibk,
You sir are guilty of acting like an intellectual Torquemada.

Toyin's politics should not blind you to his humanity. I feel really ashamed reading your vituperation. Yeah vituperation because the caustic piece is no critique. It has no intellectual value.

I do not agree with Toyin's politics too but that is his prerogative.

Thanks.

On 4/21/15, Ibukunolu A Babajide <ibk2005@gmail.com> wrote:
> CAO,
>
> The boy Toyin is a failed academic seeking relevance on the pages of
> the Internet. I initially gave him the benefit of the doubt and read
> him and his interventions only to discover a shallow and conflicted
> person whose intellect was at best pedestrian.
>
> All thanks to your forceful libertarian preachments here that denied
> me the guillotine of censorship! You should be proud and happy I am
> not decapitated prematurely.
>
> You offer a platform for poetry and prose to escape the restrictions
> of self seeking censors of thought and gatekeepers and from day one I
> embraced you and you are yet to disappoint me. Sadly, Toyin Adepoju is
> an unmitigated disaster and a monumental failure.
>
> Cheers.
>
> IBK
> On 20 Apr 2015 20:53, "Chidi Anthony Opara" <chidi.opara@gmail.com> wrote:
>
>> IBK,
>> I wonder how you guys make it pass moderation. What have supporting
>> Jonathan got to do with this? You have already assessed him and
>> returned a negative verdict, why advise him again to "go to a proper
>> school and be assessed by your peers and win their respect". Haba!
>>
>> I hope this gets pass moderation.
>>
>> CAO.
>>
>> On Monday, 20 April 2015 13:06:10 UTC+1, ibk wrote:
>>>
>>> Toyin,
>>>
>>> Stop your fake Internet academic pursuits. Go to a proper school and
>>> be assessed by your peers and win their respect.
>>>
>>> You supported a corrupt Jonathan and you think you can easily morph
>>> into the background and spread your failure in academics?
>>>
>>> I suspected you from the beginning when your appreciation of Ifa
>>> Olokun asorodayo was so warped and wrong. Over time you proved that
>>> you have no intellectual depth and you lacked moral fibre. You bear
>>> Yoruba names but hate everything Yoruba. You are conceited and conflicted.
>>>
>>> Go to a proper school and stop peddling half baked pseudo academic
>>> nonsense on the Internet.
>>>
>>> A word is enough for the wise but you are not wise.
>>>
>>> Cheers.
>>>
>>> IBK
>>> On 20 Apr 2015 12:02, "Oluwatoyin Adepoju" <toyind...@gmail.com> wrote:
>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>> *
>>>> Wole Soyinka's Art as a Psychological, Spiritual and Philosophical
>>>> Resource
>>>> *
>>>>
>>>>
>>>>
>>>> Oluwatoyin Vincent Adepoju
>>>>
>>>> Compcros <http://danteadinkra.wix.com/compcros>
>>>>
>>>> Comparative Cognitive Processes and Systems
>>>>
>>>> "Exploring Every Corner of the Cosmos in Search of Knowledge"
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>> Some of the greatest contributors to spirituality and religion from
>>>> Africa or in relation to African cultures are artists.
>>>>
>>>> I refer to artists operating outside the generally recognized
>>>> contexts of spiritual and philosophical activity.
>>>>
>>>>
>>>> *A Multi-Cultural Contextualization *
>>>>
>>>>
>>>> * Dante Alighieri and Matsuo Basho*
>>>>
>>>>
>>>> The contributions of these creative people to spirituality and
>>>> philosophy outside conventionally recognized channels also emerges
>>>> in other cultures, two of the most striking examples of this being
>>>> the Italian poet Dante Alighieri and the Japanese poet Matsuo
>>>> Basho.
>>>>
>>>> * Dante Alighieri *
>>>>
>>>> Dante's epic poem the *Divine Comedy*
>>>> <http://en.wikipedia.org/wiki/Divine_Comedy> (1308-1320) is the
>>>> greatest known demonstration of the convergence of Christianity,
>>>> philosophy, politics, literature and the other arts within the
>>>> context of observations of everyday human experience.
>>>>
>>>> It represents Western civilisation's integration of these pillars
>>>> of its cultural identity, a value that continues to resonate
>>>> centuries after the creation of this work in medieval Europe.
>>>>
>>>> The greatness of the poem is demonstrated by the fact that the
>>>> limitations attendant upon the work's temporal emergence are
>>>> superseded by its imaginative and ideational range, as
>>>> demonstrated by the variety of Dante interpretations and recastings
>>>> that continue till the present day.
>>>>
>>>> The expanding scope of these interpretations and representations of
>>>> Dante are actualised, for example, by Allison Milbank's description
>>>> of Christian Moev's *The Metaphysics of Dante's Comedy* (2005) as a
>>>> "contemporary interpretation of [Dante's] poetics that goes so far
>>>> as to seek analogies with the understanding of space-time in modern
>>>> quantum-physics" in his review of the book in *Religion and
>>>> Literature*, Vol.38. No.2. 2006.117-119.
>>>>
>>>> Sandow Birk and Marcus Sanders' translate the Comedy ( 2004) in
>>>> colloquial modern English, with illustrations setting the work in
>>>> the contemporary Western context.
>>>>
>>>> The exhibition
>>>> <http://www.scadmoa.org/art/2014/divine-comedy-heaven-purgatory-hel
>>>> l-african-artists>
>>>> and accompanying book
>>>> <http://www.amazon.com/The-Divine-Comedy-Purgatory-Contemporary/dp/
>>>> 3866789319> "The Divine Comedy: Heaven, Purgatory and Hell
>>>> Revisited by Contemporary African Artists"(2014-2015), is described
>>>> as going beyond the inspiration of "Dante's literary works and
>>>> metaphorical language for [Western visual visual artists having
>>>> inspired] European masterpieces by Sandro Botticelli, Eugène
>>>> Delacroix, William Blake and Auguste Rodin, among many others [ to
>>>> demonstrating through a variety of media] how concepts visited in
>>>> Dante's poem transcend Western traditions and resonate with diverse
>>>> contemporary cultures, belief systems and political issues [
>>>> providing] a probing examination of life, death and the continued
>>>> power of art to express the unspoken and intangible".
>>>>
>>>> * Matsuo Basho*
>>>>
>>>> Matsuo Basho's poetry is a quintessential expression of the
>>>> confluence of the temporal and the timeless, space and infinity
>>>> that characterizes Zen Buddhism as a style of attention to
>>>> relationships between inner and outer worlds enabling insight into
>>>> points of intersection of self and cosmos.
>>>>
>>>> Even in a world where mechanized locomotion is ubiquitous, Basho's
>>>> signature poetry and prose collection,*Oku no Hosomichi *
>>>> <http://en.wikipedia.org/wiki/Oku_no_Hosomichi>(late 17th century)
>>>> , translated as *The Narrow Road to the Deep North and Other Travel
>>>> Sketches*, his account of a long and difficult journey made on
>>>> foot, continues to inspire people with its image of life as a
>>>> journey, and the moments and progression of the journey as points
>>>> of intersection with the infinite, as gloriously summed up in
>>>> Donald Keene's translation of its famous opening lines :
>>>>
>>>>
>>>> "The months and days are the travellers of eternity. The years that
>>>> come and go are also voyagers. Those who float away their lives on
>>>> ships or who grow old leading horses are forever journeying, and
>>>> their homes are wherever their travels take them. Many of the men
>>>> of old died on the road, and I too for years past have been stirred
>>>> by the sight of a solitary cloud drifting with the wind to
>>>> ceaseless thoughts of roaming."
>>>>
>>>> Complementing this famous work are Basho's other writings
>>>> exemplified by his famous haiku, a poetic form from Japan which
>>>> may be described as minimalist poetry capturing an eternal value in
>>>> a fleeting moment, of a frog breaking the silence of an ancient
>>>> pond by jumping into the water, a supreme evocation of the
>>>> principle of immersion in the moment in order to reach the eternal
>>>> that is central to Zen Buddhism and its effect on such Japanese
>>>> arts as gardening, the tea ceremony, archery, and within and beyond
>>>> Japan, the martial arts.
>>>>
>>>>
>>>> * Ibn Arabi, Jalal ud-din Rumi, the Baal Shem Tov and the
>>>> Africanist Achievement *
>>>>
>>>>
>>>> Writers like Dante and Basho bring alive the creative potential of
>>>> particular philosophical and spiritual values and traditions in
>>>> ways outside the context of their official expression.
>>>>
>>>> They thereby demonstrate the vitality of these cultures as ways of
>>>> responding to the challenge of being human that transcend while
>>>> taking advantage of those larger bodies of expression from which
>>>> they draw inspiration.
>>>>
>>>> Some other writers are able to demonstrate both individuality of
>>>> transposition of the official world view represented by a
>>>> spirituality while gaining acceptance as part of the broader canon
>>>> outside the scriptures of those traditions, such as Ibn Arabi and
>>>> Jalal ud-din Rumi in Islam, Rumi's poetry collection the
>>>> *Mathnawi* being described as "the Koran in Persian" and Ibn
>>>> Arabi's poetry and prose long established as cornerstones of
>>>> Islamic theology, philosophy and mysticism, and the Baal Shem Tov,
>>>> whose stories are canonical in the Hasidic school of Judaism.
>>>>
>>>> A number of writers and visual artists whose inspiration derives
>>>> from classical African spiritualities and philosophies as well as
>>>> writers, from and beyond Africa whose work relates to but
>>>> challenges or problematises established philosophical and spiritual
>>>> cultures need to be better appreciated as central to the cultures
>>>> to which their work relates as strategies of thought and action
>>>> others may take advantage of, not simply as sources of enjoyment,
>>>> appreciation and study but as methods of engaging with questions of
>>>> ultimate meaning and the reshaping of the human mind through
>>>> contemplation, ritual and larger forms of action.
>>>>
>>>>
>>>> * Africanist Writers and Artists *
>>>>
>>>> One of such Africanist artists is the writer Wole Soyinka.
>>>>
>>>> Others are the writers Christopher Okigbo, Chinua Achebe, Ayi Kwei
>>>> Armah, Mazisi Kunene, Bessie Head and Susanne Wenger and the visual
>>>> artists Victor Ekpuk, Bruce Onabrakpeya, Ayoola Gbolahan,
>>>> Nyornuwofia Agorsor, Belkis Alyon, Joseph Eze, Owusu-Ankomah, and
>>>> the sculptural and architectural school of Susanne Wenger, these
>>>> being those I am informed about.
>>>>
>>>> Each of these creators or schools, is saying something unique,
>>>> developing novel philosophical or/and spiritual possibilities.
>>>>
>>>> By "philosophical", in this context, I refer to rationalistic
>>>> explorations of meaning, like Ayi Kwei Armah's depiction of a
>>>> philosophy of nature inspired by Akan thought in the conversation
>>>> between Damfo and Densu in his novel
>>>>
>>>> *The Healers.* By "spiritual", I refer to ideas and practices
>>>> centred in non-rationalistic explorations of meaning, such as
>>>> Christopher Okigbo's mystical sequence, built on Igbo spirituality,
>>>> in his poetic cycle
>>>> *Labyrinths.*
>>>>
>>>>
>>>> * Wole Soyinka*
>>>>
>>>>
>>>> * Meditation on Emptiness : *
>>>>
>>>>
>>>> *The Credo of Being and Nothingness* Wole Soyinka, for example,
>>>> creates marvelous contemplative and ritual scenarios that may be
>>>> adapted for use beyond identification with any belief system.
>>>>
>>>> A key expression of this is the meditation he describes in the
>>>> beginning of *The* *Credo of Being and Nothingness*, which involves
>>>> imagining oneself at the state before the emergence of existence.
>>>>
>>>> This meditation is rich as a means of reaching the foundations of
>>>> the mind in detachment from the complex of ideas, emotions,
>>>> attitudes and impressions that constitute one's personality, the
>>>> aggregate of one's encounter with the world across time and space.
>>>>
>>>> One thereby engages with oneself as an identity distinct from but
>>>> related to this existential complex, suggesting the possibility of
>>>> reshaping one's attitudes from this centre of direction.
>>>>
>>>> This meditation is also useful as a means of reflection on ideas
>>>> about the origin of existence, particular those ideas centred in
>>>> the idea of emptiness as a primary state before the emergence of
>>>> being, such as the Judaeo-Christian conception of the "darkness
>>>> upon the face of the waters"
>>>> when "the earth [was] without form and void", the Buddhist idea
>>>> of *sunyata*, the Void, the possibility beyond conception that
>>>> enables being, the Jewish Kabbalistic idea of Ain Soph, the
>>>> Umanifest so called becauase it is not expressed even in terms of
>>>> the most abstract concepts yet is the source of existence, and the
>>>> scientific cosmological notion of the cosmos emerging from Nothing,
>>>> as presented with particularly beauty of logic in Tian Yu Cao's
>>>> "Ontology and Scientific Explanation" in *Explanation*, edited by
>>>> John Conwell.
>>>>
>>>> Soyinka describe his meditation on emptiness as a childhood pursuit
>>>> carried out without knowledge of its relationship to philosophy and
>>>> spirituality.
>>>>
>>>> His use of the same or similar ideas in other contexts expands
>>>> its possibilities of understanding and adaptation by others.
>>>>
>>>> It is central to some of the most powerful passages in his prison
>>>> autobiography *The Man Died *as he describes himself as exploring
>>>> primordial voidness through contemplation and through its
>>>> metaphorical expression even in such seemingly mundane forms as a
>>>> blank sheet of paper the emptiness of its surface potent with
>>>> limitless possibilities of expression its empty surface enables.
>>>>
>>>> It demonstrates an associative relationship with one of his
>>>> central concepts, the Abyss of Transition, which may be understood
>>>> as the process of moving between life, death and rebirth, distilled
>>>> from classical Yoruba philosophy of the human life cycle in a
>>>> cosmic context.
>>>>
>>>> It may be related to the Abyss of Transition as dramatised in the
>>>> magnificent ritual core of his play *Death and the King's
>>>> Horseman,* in the play's dramatization of a process of moving from
>>>> life into the realm of death, enabling communion with the
>>>> ancestors, in relation to the birth of new biological life.
>>>>
>>>> One may see in these parallels a possible distillation from
>>>> Soyinka's personal childhood orientation, in relation to his
>>>> immersion in classical Yoruba spirituality and philosophy, of an
>>>> idea that may be enriched by Yoruba thought and practice but which
>>>> goes beyond it and may be adapted as contemplative and ritual
>>>> practice even outside identification with related ideas from that
>>>> culture.
>>>>
>>>>
>>>>
>>>>
>>>> * Death Ritual : Death and the King's Horseman*
>>>>
>>>> This adaptive possibility may be demonstrated with reference to the
>>>> ritual at the centre of *Death and the King's Horseman*.
>>>>
>>>> The ritual is a dance, accompanied by poetry expressed by the
>>>> dancer, Elesin Alafin and the drummer and ceremonial poet, Oluhun
>>>> Iyo, meant to enable the Elesin detach his mind from his body and
>>>> pass voluntarily into death.
>>>>
>>>> The ritual is a great expression of a classic motif in religious
>>>> and secular literature- the visualization of a journey into the
>>>> world of the dead which constitutes central aspects of some of the
>>>> world's greatest literature, the *Egyptian Book of the Dead*, the
>>>> *Tibetan Book of the Dead*, Homer's *Odyssey*, Virgil's *Aeneid*,
>>>> Dante's *Divine Comedy*, and the remarkable underworld sequence in
>>>> *Darke *by Angie Sage, among others.
>>>>
>>>> Some of these works, particularly those operating within an
>>>> explicitly religious context, such as the *Egyptian Book of the
>>>> Dead* and the *Tibetan Book of the Dead*,may be understood as
>>>> contemplative maps enabling dissociation from life as it is known
>>>> in order to explore ideas about existence beyond life, and perhaps,
>>>> even the possibility of engaging with such existence.
>>>>
>>>> The rhythm of imagery and verbal music in the ritual centre of
>>>> *Death and the King's Horseman *enables a superb contemplative
>>>> motion from the grounding of one's mind in one's awareness of one's
>>>> body as part of the physical world to another centre of awareness,
>>>> removed from a focus on one's one physical embodiment.
>>>>
>>>> This withdrawal from physically centred consciousness may be
>>>> combined with a gradual reversal of the contemplative ritual in
>>>> terms of a return to one's awareness of one's embodied self.
>>>>
>>>> What could be the value of such an exercise?
>>>>
>>>> It could facilitate appreciation of the scope of consciousness, of
>>>> its elasticity, and perhaps lead to states of consciousness from
>>>> which knowledge could be gained that might not be readily
>>>> accessible otherwise or even accessible except through such means.
>>>>
>>>>
>>>> * Nature Centred and Abstract Meditations and
>>>> Invocations : A Shuttle in the Crypt*
>>>>
>>>> Other examples of contemplative and ritual activity that may be
>>>> adapted from Soyinka's works are the meditations in his poetry
>>>> collection *A Shuttle in the Crypt*, depicting the contemplative
>>>> and ritual activity through which he sustained himself while in
>>>> prison during the Nigerian Civil War.
>>>>
>>>> These include the opening poem "O Roots" in which he imagines
>>>> himself drawing power from the earth as he encounters inspiring
>>>> brethren of similar aspiration through a contemplative plunge
>>>> described as an immersion in "pools of silence", a conflation of
>>>> aquatic imagery and contemplative action which may be adapted in
>>>> meditation employing Soyinka's imagery of roots drawing sustaining
>>>> energy from the earth, and his imagery of empowering flows of
>>>> water.
>>>>
>>>> Soyinka's visualization of himself as withdrawing within the flames
>>>> of his heart as he invokes helpers on beams of light while he
>>>> chants an incantation of resolve to vanquish his destructive
>>>> circumstances is another poem is rich in visual imagery and verbal
>>>> action within a contemplative ritual context which may be
>>>> profitably adapted for use particularly in trying situations.
>>>>
>>>> Some other poems in the collection are more abstract in vision, yet
>>>> suggest possibilities of contemplative exploration of most
>>>> adventurous concepts, such as the delightfully oxymoronic "barrier of immanence".
>>>>
>>>> Some project the poet in terms of or in relation to other forms of
>>>> being, such as a bird winging its way to a rendezvous at the
>>>> beginning of time or watching a flight of egrets seeming to him
>>>> like a choir participating in the sacred transmutation of matter
>>>> into spirit represented by the Christian Mass as centred on the
>>>> solemnity of the setting sun.
>>>>
>>>>
>>>> *Building a Soyinka Centred Contemplative, Ritual and Philosophical
>>>> System *
>>>>
>>>>
>>>> It should be possible to develop a Soyinka centred contemplative
>>>> and ritual discipline, perhaps related to rationalistic
>>>> explorations of philosophical questions.
>>>>
>>>> These could be correlated with Soyinka's explorations of classical
>>>> Yoruba philosophy and spirituality in the spirit of his richly
>>>> concise, simple yet luminous depiction of Yoruba orisa or deities
>>>> and cosmology in terms of sublime philosophical concepts in the
>>>> seven stanza poem that concludes *A Credo of Being and
>>>> Nothingness*.
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
>>>>
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>>>>
>>>>
>>>> --
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