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African Humanism: a Pragmatic Prescription for Fostering Social Justice and Political Agency

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African Humanism: a Pragmatic Prescription for Fostering Social Justice and Political Agency AFRICAN HUMANISM: A PRAGMATIC PRESCRIPTION FOR FOSTERING SOCIAL JUSTICE AND POLITICAL AGENCY A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Rochell J. Isaac August, 2012 Examining Committee Members: Dr. Abu Abarry, Advisory Chair, African-American Studies Dr. Nathaniel Norment, Jr. African-American Studies Dr. Anthony Monteiro, African-American Studies Dr. Harvey Neptune, External Reader, History Department ii © Copyright 2012 by Rochell J. Isaac All Rights Reserved iii ABSTRACT This study explores an African conception of Humanism as distinct from the European model and challenges the notion that Humanism is an entirely European construct. I argue that the ideological core of Humanism originated in ancient Kemet, the basis of which frames the African worldview. Furthermore, the theoretical framework provided by the African Humanistic paradigm serves as a model for structuring inter and intra group relations, for tackling notions of difference and issues of fundamentalism, for addressing socio-economic political concerns, and finally, to shift the currents of political rhetoric from one of jouissance to a more progressive and pragmatic stance. iv ACKNOWLEDGMENT I am grateful to my entire family—since it truly takes a village—especially my parents, Lisbeth and Stanley Isaac. I am grateful for their love, encouragement, and support. I am also grateful for all the exemplars in the academic field of Africana Studies who’ve come before leaving their profound insights to inspire and motivate us all. I’d also like to thank Dr. Abarry—who has always had great faith in me—along with all the other members of the dissertation committee: Dr. Monteiro, Dr. Norment, and Dr. Neptune. v TABLE OF CONTENTS ABSTRACT………………….…………………………………………….…….................….…iii ACKNOWLEDGMENT…………………………………………………….................................iv LIST OF TABLES………………………………………………………….................................vii LIST OF FIGURES…………………………………………………………………………..… viii PREFACE: THE NIKE OF SAMOTHRACE…………………………………………………… ix CHAPTERS 1. INTRODUCTION: PLAYING WITH RESPECT…………………………………… 1 Statement of the Problem: Economic Forecast………………………………14 Taking Up the Blues: Blackness as Social Construct……………….………. 20 Political Conundrums…………..………………………..…………………...30 Towards A Social Prescription (Purpose of the Study)..…………….………39 2. METHODOLOGY: A QUESTION OF PLACE………….………………………… 41 The African Worldview: Ethos and Culture………………………………… 48 Locating Africa: Afrocentric Spaces.………………………………………...59 Rationale: Acting From A Knowledge Base………..………………………..65 Method………………………………………………………….……………66 Chapter Summary………………………………………………… …………67 Limitation of the Study………………………………………… ……………68 3. LITERATURE REVIEW: HUMANISM: ABSTRACT THEORY OR PRAGMATIC MEASURE…………………………………………………………………………. 69 European Humanism…….…..…………………….………………… ……………...69 Critical Perspectives on Humanism……………………………….… ………81 African Humanism………………………………………………….… ……..91 4. GOD TALK: BLACK THEOLOGY AS HUMANISTIC ENDEAVOR ………….105 Religion as Cultural and Historic Marker………………………… ………..105 The Black Church………………………………………………………….. 109 The Hermeneutics of Black Theology……………………………………... 121 vi 5. NEITH & BLACK ATHENA BECKON: A LOVE STORY……………….. ...…..141 The Role of Mythology……………………………………………… …..…141 The Goddess: Stories of Power…………………………………… ………..147 Egyptian and Greek Art in Brief………………………………… …………163 Cultural Hybrid Markers in Sculpture……………………………….. …….170 6. THE AFRICAN AESTHETIC & HUMANISM ….……………………… ……….176 Ancient Kemetic Humanism………………………………… ……………..176 Black Magicians: African Aesthetical Spaces Through Time and Space…..184 Can You Feel Me? A Call to Peoplehood: The (Knew) Black Aesthetics …197 7. ISHMAEL REED: NEO-HooDoo AESTHETICIAN……………………...… ……208 On Mumbo Jumbo ……………………………………………………………222 On Flight to Canada………………………………………………………….231 On The Terrible Twos ……………………………………………………………….239 8. JAMES BALDWIN: JEREMIAH, PROPHET & WITNESS ………………...........249 The Role of the Artist: A Baldwinian Perspective……………………………...260 Baldwin: The Price of Freedom…………………………………………… …...267 9. CONCLUSION: HUMANISM AS AFRICANA CRITICAL THEORY…… …….273 REFERENCES……………………………………………………………………..……….281 vii LIST OF TABLES Table Page 1. African-Oriented and Euro-American-Oriented Philosophical 48 Characteristics 2. Nichols’ (1976, 1987) Philosophical Aspects of Cultural Difference 51 3. The African (Black) and European (White) Answers to the Cultural Aspects 55 4. Optimal Conceptualization: Methods of an Ancient Afrocentric Psychology 57 5. Assumptions that Guide Research and Theory in Black/Africana Studies 63 viii LIST OF FIGURES Figure Page 1. The Winged Victory of Samothrace (frontal view) x 2. The Winged Victory of Samothrace (in its original setting) xii 3. Egyptian and Greek Kouroi xxv 4. Egyptian and Greek Kouroi xxv 5. Median Net Worth of Households 2005 and 2009 xlii 6. Athena Varvakeion 152 7. Figure 7A and 7B: illustrations of Neith 156 8. The Goddess Neith 158 9. Tarot Card: Temperance 195 ix PREFACE THE WINGED VICTORY OF SAMOTHRACE It was at the Louvre, in Paris, that we met. I was and still am completely fascinated by her beauty, her pleasing and powerful aesthetic design, as well as her profound ancientness. With its extensive, detailed and realistic carvings on white Perian marble, the Winged Victory of Samothrace is awe inspiring and the magnificence of the sculpture is plain to all (see Figure 1). The statue’s enormous angelic wings on its female form seem to showcase a perfect blend of the divine and sublime with the human and mundane. Carved from a prominent block of marble from the breast to the feet, the statue also contained blocks for the bust, head, wings and drapery which were all skillfully pieced together. Smith (1991) says of the Winged Victory: “The figure is a powerful combination of bold composition and virtuoso drapery carving” (p. 77) while Sleeswyk (1982) describes it as “most beautiful” having “incomparable grace” (p. 233). The statue is also often seen as a manifestation of victory and as “symbol of the triumphant spirit” (Havelock, 1981, p.136). It is no wonder then that the sculpture is considered to be a great masterpiece of the Hellenistic period. I wanted to know more about her, and as it turns out, she had quite a story to tell. The sculpture is said to depict Nike, the goddess of victory, in the form of a winged woman, but the artist is unknown. The statue’s dynamic and dramatic portrayal of both a human and divine nature takes us into realm of humanism (actually the statue sparked this entire project). It seemed to me that the statue did indeed embody the victorious human spirit, and I thought perhaps that the principles of humanism might be useful in elevating our awareness of the primacy of human relations and serve as a reminder that human beings have the power to respond to socio-political events to create meaning in a constantly changing world. Additionally, x Figure 1: Morvan, F. (2006). The Winged Victory of Samothrace, Louvre: The 300 Masterpieces. Paris: Musee du Louvre . xi Nike’s connection to Athena/Athene, and Athena’s connection to the Egyptian goddess Neith is quite remarkable. In its original setting, the sculpture, 18 feet 3 inches in height, was placed high at a sanctuary built on the edge of a cliff with a natural landscape design setting which included rocks and a fountain (see Figure 2). Sleeswyk (1982) explains the statue’s setting. The ‘Nike’ monument originally formed part of a fountain which consisted of two successive shallow basins. It stood next to the great Stoa for pilgrims to the ‘Sanctuary of the Great Gods’ for which Samothrace was famous for in the ancient world. The fountain stood on a slope, and the ‘Nike’ overlooked the sanctuary…..The site of the fountain had been scooped out of the hillside, and a low free-standing wall along the sides and the back of the upper basin hid the vertical surfaces from view. The marble prow stood obliquely in the nearly square upper basin the rippled upper surfaces of the base slabs lying beneath the surface of the water. Viewed from below the Victory seemed to sail forward on her ship against the strong prevailing breeze, her body outlined against the mountains and the sky (Sleeswyk, 1982, p. 233). Unfortunately, the statue is thought to have fallen from her pedestal during a severe mid-6th century earthquake that destroyed most buildings in her sanctuary. In 1863, Charles Champoiseau, the French consul at Adrianople, discovered parts of the Winged Victory in the sanctuary of the Great Gods at Samothrace—a Greek island near the Aegean Sea—and transported it to France. Four years after the discovery, the pieces were fitted together and placed on display in the Louvre. So regarded was the statue that a second mission to Samothrace was commissioned by the French government under the leadership of MM. G. xii Figure 2: Lehmann, P., & Lehmann, K. (1973). The Winged Victory of Samothrace, Samothracian: Reflections Aspects of the Revival of the Antiques. Princeton: Princeton University Press. xiii Deville and E. Coquart; however, that mission was considered a failure as no additional findings were had. In 1873 and 1875 respectively, on multiple excavations, Champoiseau, M. Conze, (a Viennese archaeologist), and two architects, MM. Hauser and M. Benndorf, discovered new pieces of the sculpture. In 1879 all the fragments were fitted together to include the wings though the sculpture remains headless and armless (Child,
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