Showing posts with label Plato. Show all posts
Showing posts with label Plato. Show all posts

Monday, February 3, 2020

The Author is Dead: Long Live His Work


-->
 By Biko Agozino

When literary theorists talk about the death of the author, they do not refer to the death of the physical being but to the symbolic death of the text that the author could no longer keep alive with the addition of new words, sentences, paragraphs, pages and chapters. The published text becomes like a cadaver to be dissected by communities of interpretation and decoded either in line with hegemonic elite perspectives by conservatives, or in agreement with negotiated decoding by reformists, or bold decoding by revolutionaries in counter-hegemonic ways.

Thus, the death of the author actually signifies that the author has attained immortality in the sense that thousands of years to come, readers will continue to decode what is encoded in those books and continue to quote that Agwuncha Arthur Nwankwo says this or that as if he is still sitting with us in the Chancery of the Eastern Mandate Union – his home and office that was open to all without security guards and gate-keepers at all hours of the day and with generous supply of food and drinks. Arthur is Dead: Long Live His Body of Works!



Few intellectuals today can lay claim to over 20 books to their credit and even fewer could do that while also publishing thousands of other authors that he sometimes commissioned for his own publishing house. To do all that while being a leading activist, philanthropist, and mentor to younger scholars but without any offer of research grants or professorship by any university in the decidedly anti-intellectual country lusting after filthy lucre is nothing but heroic. Thousands of years to come, we may forget who was the richest Igbo person at the time of the passing of Agwuncha Arthur Nwankwo but I bet that the world will keep rediscovering his brave intellectual and moral leadership especially if professors encourage their doctoral students to subject his immense contributions to critical appraisal in their dissertations instead of parroting irrelevant Eurocentric jargon as the privileged theoretical perspectives for explaining African realities.

When I visited his home on January 3rd 2020 with my High School teacher who mentored me on study skills and who also wrote for the publisher, a submission to the Justice Oputa Commission on Human Rights Violations in Nigeria, we sat outside his Chancery residence and started a seminar on political philosophy. My mentor said that he did not like democracy and would prefer a strong ruler who got things done well. Arthur lighted up and glanced at me. I smiled and said that Churchill also observed that democracy was the worst system of government, except for all the other alternatives. Plato and Aristotle also rejected democracy as mob rule and preferred the philosopher king or the aristocracy, respectively. That was probably why an Oxford educated theologian, C.K. Meek, was dispatched as a colonial anthropologist in 1930 to figure out why Igbo women declared war on colonialism. In his ‘intelligence report’ on Igbo Law, Meek said that the Igbo were ‘politically backward and undeveloped ‘because they were headless or acephalous societies and so could not be subjected to indirect rule like their more ‘advanced’ neighbors who had natural rulers.

Although Meek recommended direct rule under the British District Commissioners for the democratic Igbo, another Oxford anthropologist Margery Perham advised the military dictatorship in 1970 that what made the Igbo rebellious enough to secede (after being subjected to inhumane pogroms and genocide) was because they had no chiefs and were supposedly jealous of their more advanced neighbors with chiefs. To make the Igbo easier to control, the military dictatorship was advised to impose chiefs on them and this was decreed by General Obasanjo in 1976. I concluded that the Igbo should defend their democratic philosophy which says that all heads are equal and that the Igbo know no king because that is the philosophy of government promised by the republican constitution of Nigeria with no role for traditional rulers. In defense of democracy, those traditional rulers should have been abolished and replaced with town mayors and city councils who would be elected on fixed terms for more accountability. Arthur loved the exchange and told us that he was feeling a lot better with the fresh air before he asked us to help him back to his room upstairs.

His sister called me to inform me that her ‘father’ chose the beginning of Black History Month, February 1, to journey to the land of the ancestors with the assurance that his body of work will live on after him. Being in the presence of Agwuncha Arthur Nwankwo always felt like having a front row seat in the performance of living history. I visited him in December and twice in January, the last being in hospital on January 8th where he looked as if he was recovering. It was a shock to learn that he was gone to the next world but the sense of shock quickly gave way to the celebration of his immense achievements as a scholar-activist with enduring contributions to social thought, pro-democracy activism, and institution-building.

In January 2016, I conducted an interview with him about his celebrated Appeal Court case that struck down and deleted the clause of sedition from the Nigerian Criminal Code as being in conflict with the Presidential Constitution which provides for freedom of expression. If that court victory was his only contribution to the advancement of human freedom, it was enough to guarantee his eminence as a historical leader. But he went much farther than winning the court case. Before that case, he had already established himself as a conscience of the nation by writing timely books after books to challenge every dictatorial regime in the country and that was how a civilian administration arrested him and jailed him for a critical book on how his home state was being governed, offering him the chance to make history on appeal. Beyond writing his own books, he established a leading indigenous publishing house to provide the opportunity for thousands of African authors to be published at home. He still went beyond that to become a national leader of a pro-democracy movement, NADECO, that challenged the annulment of the Abiola Presidential election victory in 1993 and thereby earned himself more stints in detention. He went on to found a political organization to advocate for the Eastern region that remained neglected by successive regimes decades after the Nigeria-Biafra war.

After interviewing him in 2016 on his historic victory against sedition laws, he gave me a present of 20 books that he had written. I told him that I would write a book about all his books and he promised me that when I wrote it he would publish it. I wrote the book within two months and he published it instantly in 2016 as Critical, Creative and Centered Scholar-Activism: The Fourth Dimensionalism of Agwuncha Arthur Nwankwo. In the book, I summarized and critiqued all his books, fiction and non-fiction. This approach differs from previous reviews about his work that mostly praised his genius without much criticism and they left out his creative writings whereas I took a critical approach and also covered his creative works. As I was writing, he was sending me more photocopies of more books to add to the review. I am sure that when his family goes through his papers, they will discover even more manuscripts that are yet to be published.


When I visited his younger brother, Dr. Ejiofor Benjack Nwankwo, who is now the Managing Director of the now struggling Fourth Dimension Publishing Co, one of the books he gave me in January 2020 was the 2018 fresh publication of his elder brother, Arthur Agwuncha Nwankwo – Nigeria and Her Path to Doom. I was hoping to review this book, maybe the planned review essay would be an addition as a chapter to my earlier book about his work, in case a second edition with better copy editing was forthcoming. That review essay may wait but I am now struck by the sense of foreboding by the author who opened the book with the prophetic announcement as follows:

‘This little book is motivated by the fact that I have become an elder statesman; a man in the twilight of his career as well as earthly existence and as is our custom, an elder does not stay in the house and watch the she-goat deliver in her tethers.’ With that proverb, he went on to outline the broad history of how Nigeria was established on a faulty trajectory that would lead to ruin and conclude with a critical appraisal of the Buhari administration and a recommendation for restructuring as the solution to the problems he identified. Personally, I hope that the restructuring will include the democratic option of the United Republic of African States, one of the points that I made earlier in my book about his body of works.

President Buhari and other politicians were quick to offer praise for Nwankwo when his death was announced but I doubt if they have bothered to read his living books. Buhari reportedly recognized Nwankwo as a national leader of NADECO and praised him for supporting the handshake across the Niger. The administration or his well-wishers should endow a research center and professorship in his name to encourage students to read his books and learn from the timely analysis and warning of how to avert the doom that is predictably looming before the people.

I thank the author for touching me personally and rubbing off on me a bit of his leadership gifts. I wish Nwankwo well on his journey to get some rest in the land of the ancestors before he returns with his fellow intellectuals, especially those of the Igbo School – Nnamdi Azikiwe, Chinua Achebe, Mokwugo Okoye, Victor Nwankwo, Hebert Ekwe-Ekwe, Adiele Afigbo, Flora Nwapa, Buchi Emecheta, Chike Obi, Chris Okigbo, Onwuka Dike, Ikenna Nzimiro, Chikezie Uchendu, and many others - to continue the struggle for democracy and social justice throughout Africa. To the family, I say; cherish the memories and celebrate the gift of an avatar that you gave to the world. His name, Agwuncha, means infinity and his works will live forever and ever.

Friday, April 25, 2014

The Broken Pot of Wisdom

By Biko Agozino





'They finally broke the pot of wisdom' (2011), by El Anatsui, 'New World' exhibition, Mount Holyoke College Museum of Arts,  21 January - 8 June, 2014

According to Plato, in his ideal Republic where philosophers should be kings because it is more difficult for kings to become philosophers (democracy being out of the question in Greece as Aristotle also argued), '... the meaner desires of the many are held down by the virtuous desires and wisdom of the few.'

El Anatsui, the Ghanaian Professor of Studio Arts at the University of Nigeria, Nsukka, for more than 35 years, debunked the above undemocratic philosophy of government and insisted that wisdom is never a monopoly of the few who have to hold down the masses. He uses the Africa-centered philosophical folklore of Anansi, the trickster, to challenge the Eurocentric idea that any individual can ever set out to collect all the wisdom of the world in a pot to be monopolized by him or her alone. Fortunately for the world, according to the folklore, the pot of wisdom proved too heavy for Anansi to carry up a tree for hiding; it fell and broke into pieces so that the wisdom was broadcast all over the world for all to share. 



Selfie: Viewing and discussing the exhibition with my daughters

Ichie Obinkaram Echewa, award-winning author of I saw the Sky Catch Fire and How Tables Came to Umu Madu, among other acclaimed novels, just reminded me in a phone call that the Igbo variant of the story features the sophist, Mbe the tortoise, who conducted a social survey to collect all the wisdom for hoarding but he ignored the goat because everyone knew that the goat was stupid. Yet, when he was carrying the calabash up the tree to hide it, along came the goat to ask him why he was climbing a tree when everyone knew that the tortoise did not know how to climb and why he chose to carry the calabash in such a clumsy way between his stomach and the tree. That proved that even the goat had some wisdom that was not collected by the sophist who decided to climb down and ask the goat to add his wisdom to the collection. In the process, the calabash fell and smashed and spread the wisdom all over the world.

In his previous discussions with Chika Okeke-Agulu, his former assistant at the University of Nigeria and now a Professor at Princeton University, El Anatsui told him repeatedly that he allows his curators and the viewing public, along with his students and colleagues, to interpret his works with fresh eyes, to hang them as they choose and to reconfigure the shapes according to the space available at any exhibition because he believes that we are all artists, contrary to the elitist assumption that (artistic) wisdom is held down by only a few professional 'artists'.

By using the aluminion tops of liquor bottles that he buys from traders in Nigerian markets to make elaborate colorful sculptures with philosophical messages, El Anatsui is always trying to challenge the viewers of his work to think deeply about what may be regarded as useless materials that form part of our landscape especially when linked together with metal strings as metaphors of the interconnectedness among groups and individuals in society. 

The isolated bottle tops assume new meaning when linked together with other bottle tops of different shapes and colors to create fractal images that suggest strength and diversity in unity. Using the same medium of aluminum bottle tops, he made a golden 'New World Map' with Africa at the center, 'Tiled Flower Garden' that covered much of the floor of the exhibition hall, and 'Alter Ego', all part of his New World Exhibition that subtly critiques the culture of consumptionism and alcoholism worldwide but with special reference to Africa.

As Olu Oguibe, another former student of his and now Professor of Art History and Africana Studies at the University of Connecticut pointed out in a review essay, the metaphor of the broken pot is indicative of resilience rather than mere risk of trash in the work of El Anatsui because the broken pot is not completely useless in African culture. Oguibe says that Anatsui presents a transformation of the materials he works with and does not simply exhibit everyday objects as sculpture unlike the found arts genre of some European artists. Anatsui makes sculpture, not magic or optical tricks.

It can also be argued that the whiskey bottle is actually useless until its top is 'broken' and the contents poured out. Similarly, the 'broken' English of West Africa with which El Anatsui titles some of his works is not indicative of the corruption of English but remains a vibrant testimony to the creative juices of the masses who would proudly say that their pots of wisdom are leaky but insist that 'we go dey patch am' or we will never stop patching the leaks.

Given the WHO warning against alcoholism as a public health hazard, El Anatsui may be indirectly challenging Africans to be cautious about the intoxicating contents of the bottles that have been shipped from Europe to Africa to fuel the slave raids and the continuing genocidal violence across Africa since then perhaps to hold down the 'meaner desires' of the many with the 'wisdom' and profit 'desires' of the few in Plato's ideal monarchical republic. 

To El Anatsui, the more valuable part of the whiskey and rum bottles are the discarded tops that would be melted by artisans to fabricate cutlery. He successfully bids to buy them from unionized traders and, with the help of studio assistants, breaks the tops down further before joining them together to make sheets of colorful fabric-like shapes that become works of art every bit as beautiful as his earlier sculptures made of wood and of clay. It is an artistic breakthrough many decades in the making rather than an 'overnight sensation' as some critics tried to suggest.

BREAKING NEWS:


EL ANATSUI WINS LAURELS FOR AFRICA
Africa has added a feather to its cap with the April election of the artist , El Anatsui, to the American Academy of Arts and Sciences. The Academy is one of the US's most prestigious  honorary societies. Members of the 2014 class include winners of  the Nobel Prize, the Wolf Prize , the Pulitzer Prize, the National Medal of the Arts , MacArthur, Guggenheim and Fulbright Fellowships and Grammy, Emmy, Oscar and Tony Awards
The only African besides Anatsui to become a new member  is the Kenyan novelist and English and Comparative Literature scholar, Ngugi wa Thiong'o. Former members include George Washington , Thomas Jefferson, Alexander Graham Bell, John F. Kennedy, Martin Luther King, Jr , Charles Darwin, Albert Einstein, Winston Churchill, Laurence Olivier, Mary Leakey and Nelson Mandela.
Last March, Anatsui was appointed "Honorary Academician" of the Royal Academy of Arts. This permits him to affix the title "Hon RA" to his name. The late Nigerian artist, Ben Enwonwu, is the only other African to be conferred with the title "Honorary  Academician" of Britain's most prestigious art body. This was in 1948.
In honouring  El Anatsui, the Academy's President, Christopher Le Brun said :"... this appointment (is) reserved for artists of distinguished  reputation, which marks the respect and admiration  felt by the Members of the Academy for your outstanding services to the Arts" .Current Honorary Academicians include artists such as Jasper Johns, Jeff Koons and Ai Weiwei.
Last November, El Anatsui made the list of the world's most rated people in the  Art World. The list is named "2013 power 100" and is a ranked and definitive guide of the contemporary art world's most powerful artists, curators, collectors, critics and gallerists driving the international contemporary art scene. Those listed are ranked in order of influence in the often invisible structure of today's art world. Anatsui , a new entrant, is the only African artist to make the list so far.
El Anatsui's sculptural work can be found in scores of private collections globally and continentally, and in the permanent collections of more than 40 major international museums; 13 of America's  leading museums included. Some of these are The Metropolitan Museum of Art, N.Y; The National Museum of African Art, Smithsonian Institution, Washignton ,D.C; and The Museum for Modern Art, N.Y. Other public collections include Bill and Melinda Gates Foundation, Seattle; The British Museum, London ; Centre Pompidou, Paris; Royal Ontario Museum, Toronto; Setagaya  Art Museum, Tokyo; Jordan National Gallery of Arts , Amman; The World Bank  Art Collection , Washington ,D.C; UNAIDS  Geneva ; Ghana National Art Collection, Accra; and The National Gallery of Modern Art, Lagos. Anatsui's work, which is now accepted globally as a "hard-to-categorise" art form, has featured more than once at The Venice Biennale , the most prestigious  event in the international art calendar. He has exhibited on six continents.
El Anatsui, who is the subject of numerous reviews, articles, art books, biographies, videos and films, was, until 2011 when he retired, Professor of Sculpture at the University of Nigeria, Nsukka (UNN) and a former Head of Department of Fine & Applied Arts.  Professor Anatsui , who is Ghanaian, has lived and worked in Nigeria since 1975. He has won various honours and prizes in Italy, Japan, Germany, the US, Britain, The Netherlands and Ghana; among which is one of Britain's most significant art prizes - The Charles Wollaston Award - by the Royal Academy of Arts. This was for "Tsiatsia", Anatsui's monumental winning piece, which came first over 13,000 entries worldwide. Only two Africans have so far won this award in the exhibition's 245-year history:  Anatsui in 2013 and Yinka Shonibare, the Nigerian-British artist in 2010.
To mark the 70th birthday anniversary of this globally acclaimed contemporary artist, the Centre for Contemporary Art, Lagos, recently hosted a series of events in his honour.

Therese Nweke
(5th Avenue, D Close, House 6, FESTAC Town, Lagos)
theresenweke@yahoo.com