Tuesday, January 1, 2019

Re: USA Africa Dialogue Series - The Master of Equanimity and Seeker of Balance : Initiation into Edan Ogboni Foundational : Aesthetic and Cognitive Mysticism 3

Oluwatoyin,

Happy New Year.  Please email me on your private email so that we can get things started in this brand new year.
We pray that this year will bring its measure of satisfaction to you on the end products of your philosophical mind.

I am

Professor Babatunde

On Mon, Dec 31, 2018 at 6:37 PM Oluwatoyin Vincent Adepoju <toyin.adepoju@gmail.com> wrote:





                                                                                    
                                                                        LOGO CROPPED.jpg
   

                                                        The Master of Equanimity and Seeker of Balance

                                                                                     Initiation into Edan Ogboni

                                                                                                       Foundational

                                                                                       Aesthetic and Cognitive Mysticism

                                                                                                                        3

                                                                     

                                                                                   Oluwatoyin Vincent Adepoju

                                                                                                     Compcros

                                                                           Comparative Cognitive Processes and Systems

                                                             "Exploring Every Corner of the Cosmos in Search of Knowledge"

                                                                                                              and                        

                                                                                      The Greater Ogboni Fraternity

                                                                                                 "Earth, Humanity, Cosmos"




                                                                                                         

                                   90740090-1024x10242.jpg



                                                                                                                Abstract


An effort at developing a version of the crafting, ensouling and dedication to an initiate,  of an edan ogboni, a central symbolic form and spiritual vessel of the Yoruba origin Ogboni esoteric order.


                                                     Dedicated to the indomitable scholars of Ogboni, and particularly to

                                                                                                        Babatunde Lawal

whose scholarship is particularly strategic for an understanding of the Earth grounded, embodied and yet transformative  character  of classical Yoruba thought, at the intersection of aesthetics, epistemology and metaphysics to which Ogboni is distinctively central.

                                                                                                              Contents


Picture of Master of Equanimity and Seeker of Balance Edan Ogboni 

Abstract  

Dedication 

Logic of Contemplative Method  

 Sequence and Sources of Contemplative Progression  



Logic of Contemplative Method

The contemplative technique employed here, different from but also adaptable to a relationship with the physical handling of the edan in the classical context, is influenced by my practice of visualization in Western magic, Buddhism and Hinduism, systems which, along with cultivating a strong culture of contemplation and visualization, incidentally resonating in this reworking of Ogboni ritual`, also demonstrate a reliance on physical ritual forms as Ogboni traditionally does with edan.


The focus of this adaptation of the traditional invocatory method, however, is on psychological interiority, mental mobility and ideational  flexibility, values also emerging in the classical Ogboni symbiosis of sculpture, ensouling spirit and initiate, but actualized here in experimental terms different from the social and ritual contexts of traditional practice, from edan commissioning  to its delicate construction and elaborate consecration,  the novel method evident here demonstrating a suggestion of what may be done,  in different ways, with the inspiration provided by Ogboni thought and spiritual activity.


The foundation of my aesthetically centred approach to relating in meditation with the edan ogboni is to admire and contemplate it, letting it work on my mind, with what I know about the edan kept in suspension, allowing the visual immediacy of the work exert itself on me, thus fertilizing what I know without being limited by my existing knowledge.


The power of art consists primarily in its ability to touch depths of the self that may be reached through but are not confined to structuring by concepts, a force at times bypassing ideas and plumbing beyond the filters of the intellect, even as it may energize such conceptual dynamisms.


This is best achieved by contemplating art, opening  the mind to its force through admiration of its distinctive beauty, letting mind and work, abstraction and concreteness, the invisible dynamism of consciousness and the shaping by mind and hand that is art, meet at the point that is composed by these forms of being, enabling the birth of a summative oneness  from the convergence of two, in the spirit of the Ogboni symbolism of the emergence of three from two and the sublime deployment of a  similar idea by Hindu Trika Shaivism, particularly as it is actualized by Abhinavagupta in terms of the union of his father and mother emblematizing the coming together of the God Shiva and the Goddess Shakti in generating the cosmos, to which his heart beats in rhythm to its pulsating core, as he describes this  in the opening stanzas of such  works as the Tantraloka, the Tantrasara and  the Paratrisika  Vivarana.


In this context, interpretations of art may be seen as an invitation to glory in the creation of the artist and the creative capacity of the interpreter, a guide in constructing one's own individualized relationship with the work of art. Striking interpretations could prove indelible in one's mind, creating the foundations of one's own interpretations and continually inspiring rich reflection.


In this sense, adapting a Christian writer's formulation, readings of art are like guides to cultivating one's own approach to prayer by using the prayers of others in developing the depths of the self calling out to the depths of the cosmos that is prayer, the scaffolding that aids  the construction of the  building is not discarded but integrated into the structure of the architectural form, and, employing a Zen Buddhist image,  the bridge through which the shore is reached is not transcended but becomes part of the significance of the destination arrived at with its aid, in the spirit of the Western esoteric Hermetic maxim that "The way is the goal and the goal is the way".


Dorothy Sayers declares in her introduction to the first volume, Inferno,  of her translation of Dante Alighieri's cosmological epic The Divine Comedy, that "a great poetic image is more than the sum of its parts", constituting a potency  that cannot be summed up by any level of analysis or interpretation, a fact that is also true of powerful and particularly, of  great art, such  as the edan ogboni that motivates  this work.


Salutations to the now anonymous master who created it.


Sequence and Sources of Contemplative Progression

The structural and numerical centrality of the crescent and the circle in the image, in relation to Babatunde Lawal's description in "À Yà Gbó, À Yà Tó",  of the crescent, spiral and  concentric circle  in Ogboni iconography as evoking recreative capacity, lead to my adapting the exhortation to the initiate in the seminal Western esotericism text, The Teachings, Rites and Ceremonies of the Hermetic Order of the Golden Dawn, edited by Israel  Regardie,  to "Situate yourself at the centre of the cross of the elements, from whence issued the creative word at the birth of the dawning universe", the  rhythmic beauty of that expression supremely rich in associations running from the Christian symbolism of the cross to the account of  creation through the Word in the Biblical Book of John  to the Hermetic conception of the elements as the foundations of spiritual growth.


Interpreting the crescents of the edan as suggesting temporality associated with the phase of the moon in which it assumes a crescent shape, as Lawal states, and the concentric circles on which the circles terminate as evoking the integration of all possibility around a centre, a universal and ideationally compelling manner of viewing a concentric circle, I arrive at "Situate yourself at the intersection of the crescent and the circle/between change and stability/between transformation and totality".

 

This understanding of the mystical potential of Ogboni  thought  is thus depicted in terms of sensitivity to the tension between temporality and change and the human aspiration to transcend these dynamisms,  between the ultimacy that is Olodumare, "axiom paradoxon,…beginning and  consequence", as summed up by Susanne Wenger on Olodumare, a central Yoruba conception of ultimate reality, in her review of Harold Courlander's Tales of Yoruba Gods and Heroes, and the opposites Olodumare  integrates and transcends, as superbly described by Ulli Beier in The Return of the Gods: The Sacred Art of Susanne Wenger.

 

 In this context, Olodumare subsumes the various perspectives from which the cosmos may be perceived as represented by the orisa,  deities in Yoruba cosmology. This cosmology may also be understood in relation to the quest for a point of synthesis in  the  emphasis on process as a central rhythm of being, process in terms of recurrent transitions between emergence from and return to orun, the zone of primal origins where Olodumare is centred, a process known to most humans as birth and death but in Yoruba and other cosmologies which share similar perspectives as a cycle of birth, death and rebirth.

 

The configuration of three concentric circles forming an elegant amplification of the visual power  of the centripetal force of the circles, their location on the figure's chest suggesting the figure as embodying the qualities they symbolize, leads to my evocation  of this structure in images inspired by Dante Alighieri's great visual  picture in the Divine Comedy, of the Christian conception of God as Three Persons in One, depicted by Dante in terms of  three circles occupying the same space, each breathed out of the other as  flame emanating from flame.



                                                                                                                                  

                                                        90740090-1024x10242 edited.jpg


 

I adapt, in referencing a sequence of activity, from knowledge to action to study and renunciation. lines from the Hindu Katha Upanishad of the methods through which the self may be transmuted from its focus on temporality to a cognitive grounding in eternity.

 

I conjoin with those lines a slightly adapted sequence  from  Mazisi Kunene's exposition of classical Zulu epistemology in Anthem of the Decades, a distinctively articulated conception of cognitive mysticism though resonant with correlative ideas beyond its originating cultural context.


The Kunene lines are   given striking visual particularity through the images of the chameleon and the calabash, indicating  the methods through which human perception may be transmuted from its accustomed focus on linear temporality and mono-dimensionality to a cognitive grounding in temporal unification and an immediate perception of the multi-dimensional unity of being.

 

I conclude part 1 by adapting T.S. Eliot's lines from his poetic cycle Four Quartets, of the consummation of spiritual development in terms of the image of the fire of transformation and the rose of consummating beauty.


The descriptions of brass in terms of luster and permanence, health, wealth, beauty, and fertility, comes from Lawal's "À Yà Gbó, À Yà Tó,  where he relates those virtues to Osun, the river goddess, whose personality is further alluded to here in terms of the harmony of images of silken essence and magical aged power drawn from Beier's The Return of the Gods.  The associations of iron as  valor, creative energy, industry, hunting, and warfare, strength for hammering, cutting, securing, bracing,  vigor, and "cutting edge" vital for success and longevity also come from Lawal, who correlates them with  Ogun, the  god who clears the way, the characterization of the deity as pathfinder evoked in the poem adapted from the delineation of Soyinka's picture of Ogun in Cultures of Creativity: The Centennial Exhibition of the Nobel Prize, 2001, edited by Ulf Larsson and translated by Daniel Olson.

The concept of "Nothing" in the first line of the poem  is inspired by the conjunction between the idea of "Nothing" in scientific cosmology, described by Tian Yu Cao in "Ontology and Scientific Explanation" as the "Quantum Nothing", the unknown  possibility  representing the zone before the emergence of the cosmos, and similar ideas in various religious cosmologies, such as the Great Unmanifest of Kabala, the ultimate fecundity at the source of existence but which exists as a potential rather than an actualization and so is beyond even the most exalted encounter by any entity, as understood in Dion Fortune's The Mystical Qabala,  the Void of Buddhism, beyond being and non-being,so described because it transcends all categories through which the mind apprehends phenomena,  and the Tao of  Taoism, that which has no name yet is the mother of the myriad things, as depicted in Lao Tzu's Tao te Ching.

These ideas from scientific and religious cosmology are reinforced by "the Living Darkness" of the penultimate passage, evocative of  the biological darkness of the womb, fundamental to the conception and gestation of human life, the darkness of night and the darkness experienced on closing one's eyes,   both crucial for human regeneration in sleep and for recreative thought in contemplation, imagination and introspection, gestative possibilities at the human and terrestrial scales resonating with the cosmic frames represented by the cosmological "Nothing", the equivalent of darkness in biological  and atmospheric terms,  values constellating in relation to ideas of absence of light enabling gestative capacity, subsumed for me by  the symbolism of black in Akan Kente cloth.

 The "Shadow", complementing the concept of "Nothing", comes from Ayi Kwei Armah's adaptation of Akan thought, as he describes it in a personal communication,  in the chapter "The Inspirers" from  his novel The Healers:

Those who learn to read the signs around them  and to hear the language of the universe reach a kind of knowledge healers call the shadow. The shadow, because that kind of knowledge follows you everywhere. When you find it, it is not difficult at all. It says there are two forces, unity and division. The first creates, the second destroys.

The meditator on the edan is finally depicted as encountering, in the numinous space enabled by the arcane presence of the edan, brethren in relation to whom he was entrusted with the task of projecting a broader understanding of Ogboni, assuring them, in the language of Buddhist evocation of reaching a zone of ultimate achievement, that the shore of his accomplishment of this task is opening  to  increasing fulfillment.

The edan ogboni is thus interpreted in terms of visual correlations between its form and some of the most vividly realized and sublime ideational constructions from various ideological contexts around the world.

 

This interpretive exercise may thus be understood as actualizing, through verbal interpretation of the motifs that define this example of  edan art, Lawal's luminous summation, in "À Yà Gbó, À Yà Tó", of the intersection of creativity and tradition in the art of edan ogboni:

 

 

Edan [unlike descriptive orientations in   traditional Yoruba sculpture ] is concerned with the essence and timelessness of being, and therefore is metaphorical in its imagery; its form, though inspired by the human figure, has a meta-empirical reference.

 

Yet the emphasis on the esoteric provides the brass-smith…with a unique opportunity to exercise his creativity and experiment with the human figure while still complying with… prescribed characteristics handed down over generations. A close examination of the edan corpus reveals variations on common themes and a great diversity in artistic skills, inventiveness, and temperaments.

 

The handling of headgear and coiffures, facial expressions, and body decorations is individualized, and form ranges from the two-dimensional to the volumetric and architectonic.

 

The society's concern with archetypes in its rituals and corporate emblems would seem to impose severe restrictions on the artist. Yet, it is the same concern that gives the artist the inspiration to operate at a higher level of creative consciousness, enabling him to dissociate the human figure further and further from the mundane. The result is a corpus of startling and highly original forms.

 


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--
Emmanuel D. Babatunde, Ph.D (Lon), D.Phil (Oxon)
Professor and Chair
Department of Sociology & Anthropology
Senior Fulbright Scholar
Lincoln University
Pennsylvania, USA
(484) 365-7545

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Listserv moderated by Toyin Falola, University of Texas at Austin
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