African Philosophy: Aesthetics

A history of the French reception of African art, especially wooden masks and figures, in the first four decades of the twentieth century, and how that reception led to the creation of the broader aesthetic category Westerners now know as "primitive art.

I articulate an African view of personhood that combines beauty and goodness–aesthetic and moral features. I discuss the idea of communalism, which provides the social and moral values and belief system that give meaning to this view of personhood. I use ideas from some African ethnic traditions, or some people’s account of these traditions, as examples to illustrate this view. The similarities in these examples from different ethnic traditions indicate that it is reasonable to characterize this view as a common (...) theme that may plausibly represent many African cultures. This essay does not seek to provide an anthropological descriptive view, but a plausible philosophical stance on how we ought to understand the idea of personhood in African cultures. I do not suggest that all African cultures or traditions have exactly the same view or that they hold this view in the same way, extent or degree. Obviously, there may be minor differences that do not alter the essence of the view. Many of the authors quoted in this paper who have written on African philosophy use the phrase, ‘African culture’, ‘African tradition’, ‘African view’ or ‘African society’. Thus, it has become commonplace in African philosophical circles that when the prefix ‘African’ is used in the literature on African philosophy, it does not imply that Africa is a monolith or that its traditions are static. There is a recognition that some traditions have changed or are changing. The use of ‘African tradition’ usually indicates a generalizing theoretical abstraction about some enduring and dominant similar themes or ideas in many African traditions. It is also meant to contrast ‘African’ with ‘Western’ traditions, and to also respond to Western critiques of Africa as a group. It is used in a similar way in which the prefix ‘Western’ is used in the literature. This notion of ‘Western’, which is replete in the literature, does not suggest the West is a monolith, but rather, a reference to some similar dominant themes in Western thought. (shrink)

This book demonstrates how the indigenous wisdom contained in African proverbs and folktales can be used to enhance modern life. The timeless wisdom enriches the understanding of self-development and positive influence, contributing towards the much-needed, cross-cultural dialogue among individuals, organizations, and societies in this increasingly diversified world.

This essay offers a novel approach for understanding the poetry of negritude and its role in the struggle for black liberation by appealing to Giambattista Vico’s insights on the historical, cultural, and myth-making function of poetry and of the mythopoetic imagination. The essay begins with a discussion of Vico’s aesthetic historicism and of his ideas regarding the role of imagination, poetry, and myth-making and then brings these ideas to bear on the discussion of the function of negritude poetry, focusing primarily (...) on the writings of Aimé Césaire and on Jean-Paul Sartre’s essay, Black Orpheus. (shrink)

Le;opold Se;dar Senghor (1906–2001) was a Senegalese poet and philosopher who in 1960 also became the first president of the Republic of Senegal. In African Art as Philosophy , Souleymane Bachir Diagne takes a unique approach to reading Senghor’s influential works, taking as the starting point for his analysis Henri Bergson’s idea that in order to understand philosophers one must find the initial intuition from which every aspect of their work develops. In the case of Senghor, Diagne argues that his (...) primordial intuition is that African art is a philosophy. _ To further this point, Diagne looks at what Senghor called the “1889 Revolution,” and the influential writers and publications of that time—specifically, Nietzsche and Rimbaud, as well as Bergson’s Essay on the Immediate Data of Consciousness. The 1889 Revolution, Senghor claims, is what led him to the understanding of the “Vitalism” at the core of African religions and beliefs that found expression in the arts. _ This book offers a distinct, incisive look at an important figure in African literature and politics that will be welcomed by scholars in African Studies and philosophy. (shrink)

Following in the footsteps of Chinua Achebe’s Things Fall Apart, the tenor of the postcolonial African culture has been justifiably anti-imperialist. In the 21st century, however, there has been a gradual but certain shift away from the “write-back” discourse paradigm, towards more integrative, globally inflected cultural interpretive models in Africa. This book celebrates the emergence of new interpretive paradigms such as in African philosophy, gender studies and literature.

Perhaps one of the more consistent elements of Wole Soyinka’s work has been a commitment to an individual will that refuses collective mobilization. Aisha Karim argues that Soyinka’s novel Season of Anomy marks a departure from any commitment as such that opens the text to new political possibilities. But while Season of Anomy presents us with an alternative to the politics and poetics that underlie Soyinka’s dramatic output, Karim maintains that it does so only insofar as it imagines itself as (...) a “failed text.” What emerges as a crisis of representation within the text consequently allows the reader to recognize herself as the agent of change on the level of the social. (shrink)

How can Africans escape the control of the complex power relationships established during Colonization and successfully achieve self-development? More importantly, and the primary concern of this book, can African female characters ever hope to arrive at such individuation given the dual challenges of the power structures defined and enforced by European colonizers and the patriarchal structures that contort issues related to gender? Tracing Personal Expansion reads late 20th Century works by African female novelists Buchi Emecheta, Tsitsi Dangarembga, and Calixthe Beyala (...) as modern Bildungsromane, novels of self-development, to reveal the dynamics, complexities, and challenges the characters and authors experience. By exploring the possibility of self-development in African female protagonists, this engrossing work augments existing feminist critiques that have analyzed the possibilities and potentials for the individuation of mostly Western, mostly European female characters. (shrink)

There are three facets to the colonial project: a practice, a body of knowledge, and mental engineering. The third is the result of colonialism as text, for such a text bolsters the minds behind colonizing practices and is simultaneously a prison house for the minds of the colonized. The battle between the colonial text and its dialectical opposite, the anti-colonial text, is central to decolonization. Hegel and Achebe are shown to exemplify this struggle.

The Good, the Bad, and the Beautiful Discourse about Values in Yoruba Culture Barry Hallen Reveals everyday language as the key to understanding morals and ethics in Yoruba culture. "This contrasts with any suggestion that in Yoruba or, more generally, African society, moral thinking manifests nothing much more than a supine acquiescence in long established communal values.... Hallen renders a great service to African philosophy." —Kwasi Wiredu In Yoruba culture, morality and moral values are intimately linked to aesthetics. The purest (...) expression of beauty, at least for human beings, is to possess good moral character. But how is moral character judged? How do actions, and especially words, reveal good moral character in a culture that is still significantly based on oral tradition? In this original and intimate look at Yoruba culture, Barry Hallen asks the Yoruba onisegun—the wisest and most accomplished herbalists or traditional healers, individuals justly reputed to be well versed in Yoruba thought and expression—what it means to be good and beautiful. Posed as an outsider wanting to gain understanding of how to speak Yoruba correctly, Hallen engages the onisegun and has them explain the subtleties and intricacies of Yoruba language use and the philosophy behind particular word choices. Their instructions reveal a striking and profound depiction of Yoruba aesthetic and ethical thought. The detailed interpretations of everyday language that Hallen supplies challenge prevailing Western views that African thought is nothing more than acquiescence to long-established religious or communal values. The philosophy of ordinary language reveals that moral reflection is indeed individual and that evaluations of action and character take place on the basis of clearly and logically delineated criteria. With the onisegun as his guides, Hallen identifies the priorities of Yoruba philosophy and culture through everyday expression and shows that there are rational pathways to both truth and beauty. Barry Hallen has taught philosophy at the Obafemi Awolowo University in Nigeria. He is a Fellow at the W. E. B. DuBois Institute for Afro-American Research at Harvard University and Visiting Professor of Philosophy at Morehouse College. He is coauthor of Knowledge, Belief, and Witchcraft: Analytic Experiments in African Philosophy. Contents Ordinary Language and African Philosophy Moral Epistemology Me, My Self, and My Destiny The Good and the Bad The Beautiful Rationality, Individuality, Secularity, and the Proverbial Appendix of Yoruba-Language Quotations Glossary of Yoruba Terms. (shrink)