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Methodology<< Previous
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Introduction
Creative Resources in the Myths
I have already stated that the object of this project is to
proffer graphic, hermeneutic interpretations to the myth
selected here without being banal or pedestrian. I prefer not
to use the word “adaptation” because the myth is not a stranger
to art or vice versa. The myth is a work of art. It aspires to
the poetic model in its essentialist tendencies, that is, its
abhorrence of the detailed, systematic, mathematical approach.
This assertion would seem to nullify the inclusion of the
theories of evolution and the Big Bang here, but their retention
is justified by the concrete and realistic notion of myth set
forth at the beginning of this report, although they are far
from being artistic or poetic in nature.
The revolving task in this project now becomes the
identification of possible areas of interest in the myths which
merit interpretation. Since the myths and theories deal
generally with the pervading theme of emergence, I take it to be
the central subject of my paintings. Although basically the
same, this is explored from a different pedestal in each of the
paintings to produce a kaleidoscopic tapestry of myths which can
compliment the eternal inquiry into the origin and nature of
man.
The choice of the emergence element as a creative
resource here does not imply that there are no others. It is
informed by the scope of this project and its reliance on the
principles of hermeneutics.
Application of the
Creative Resources
We finally come to the stage where the culmination of the whole
project lies, the creative application of mythic imageries. In
the West, myth was a part of classical and theological studies
until after the Enlightenment when the concern for myth
witnessed a rekindled intensity (Microsoft, 96) and came to
pervade all the newer university disciplines like anthropology,
history, psychology, history of religions, political science,
structural linguistics, etc. In Africa, life was anchored on
myth and oral traditions, including epic poetry, was the major
medium for the exploration and expression of myth. In both
traditions (Western and African), myths have catalysed the
imagination of creative people. How does one apply the resource
in the selected myths to painting? How can essence and clarity
be reached in the painting with hermeneutics at the back of our
mind?
Artists in the past have variously given graphic
interpretation to myths, including those of origin and
cosmogony. Myths have also been exploited in the development of
themes and plots by literary artists like Okpewho and Achebe.
But in the present project, we are faced with a more difficult
task, due to the introduction of hermeneutic principles. Ipso
facto, the demand here is not just to produce symbols which
will attempt sweeping elucidation of the myths in question, but
the articulation and orchestration of images and moments which
can guide the average student in finding meaning in them.
From some of the myths addressed here, one discovers
that in the paintings, every emphasis is on the emergence motif
which in most of the myths can be said to have super-historical
implications. It is this very character that encodes the
essence of the myth which, like the work of art, may appear
fantastic outside the contextual psychology which generated it.
It is in contemplating this particular character of myth that
one discovers the richness of myth and appreciates it like the
work the of art which it is, or as a resource base of artistic
ideas which it can be. Like the poetic model, myth is a
pleasant art form that can offer the artist many avenues for
exploration. In exploiting these mythic patterns in my work,
the role of myth in remotely shaping our prevailing supersonic
consciousness is alluded to while the humility of man’s
beginning - his originary dependence on the mythic cause for his
emergence, being and life force - becomes a pan-mythic element
which informs the physical and philosophic contents of the
paintings. Such contents are further keyed up and enhanced
through the subtle use of colours - at times sombre, at times
luminous - and spontaneous compositions which are largely
deliberately so in the effort to continue, or translate, in
visual terms the poetry underlining the myths. This poetics is
also echoed in the technique employed in the paintings, be it in
oil, watercolour, or acrylic. A musicality stranger than the
myth itself is aspired to through the careful but spontaneous
deployment of evocative colour bands. These combine with form
and emotional content to imbue the works with the charm, power,
and felicity of hierophantic chants, thereby subtly clarifying
the general interpretation that is derivable from the body of
works.
And having said that, what interpretation can one
identify as being general both in the myths and the graphic
representations? Is there any such general interpretation? Or
does there have to be? The answer to these questions could
presuppose a finalist attitude which can threaten the
foundations of my thesis. But it can conveniently be said that
all the myths help to affirm that man not just is. He
lives and continues to remain the ultimate purpose of
cosmogony. And since most of the mythic heroes are
strangely related, it can be posited that man in general must
have had a common ancestry. The mythic hero at the beginning of
times must have been part of the cosmic order and probably
enjoyed the ability to manifest at different places and times to
give birth to various cosmologies and cultures. This is
perhaps, why man is in plural, yet unique. As I stated in my
talk at the Northwind Gallery Port Townsend, on November 7,
2003, and also in my book, A Critical Travelogue, I can
only conclude from this project that there are no races, but
only one race – the human race.
Bibliography
Achebe, C., 1987. Anthills of the Savannah. London:
Heimemann Afigbo, A. E. 1981. Ropes of Sand: Studies in Igbo
History and Culture. Ibadan: University Press Limited.
Akam, J.B.1991. Man: Unique But in Plural: Hannah Arendt and
the Politics of Action. Enugu: Snaap Press
Carey, G. (ed.) 1991 Cliff Notes on Mythology. Lincolin:
Cliff Notes, Inc.
Cartland, B., 1979. I Seek the Miraculous. London: Sphere
Books
Eliade, M., 1963, Myth and Reality. New York: Harper &
Row.
Enekwe, O. O. 1987. Igbo Masks: The Oneness of Ritual and
Theatre. Lagos: Department of Culture.
Erdoes, R. and Ortiz, A. 1984. American-Indian Myths and
Legends. New York: Pantheon Books.
de la Fountain, J. 199. Fable Choicies. Saint Maur: Editions
Sepia
Gadamer, H-G., 1977. Philosophical Hermeneutics. Los
Angeles: University of California Press
Jung, C.G., 1968. Man and His Symbols. New York: Dell Publishing
Co. Inc.
Madu, R.O. 1992. African Symbols, Proverbs and Myths: The
Hermeneutics of Destiny.New York: Peter Lang.
“Mythology”, Microsoft (R) Encart(R) 96 Encyclopedia
Nwala, J.U. 1985. Igbo Philosophy. Lagos: Lantan Books.
Okpewho, I. 1993. Myth in Africa. Cambridge: Press
Syndicate of the University of Cambridge.
Parrinder, G. 1975. African Mythology. London: Paul
Hamlyn 1952.
The Holy Bible
(Revised Standard Version). London: The British and Foreign
Bible Society.
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