Showing posts with label Yin-Yang. Show all posts
Showing posts with label Yin-Yang. Show all posts

Tuesday, February 27, 2018

CONCEPT: Conflict


Conflict: Ancient Chinese philosophers, the Taoists specifically,  saw conflict as the ever-recurring but forward-leaning dialectical spiral of Night and Day -- that is, of Yin and Yang. It was a 'fatal embrace' of sorts destined to always produce Tomorrow, and never yesterday. Plato, the Greek philosopher, likewise saw conflict as a dialectical engagement. In his case, it was a clash between good and evil; and, indeed, he held that "each thing has its evil and good". This dichotomy between 'good' and 'evil' (or Self and Other) characterized (and still does) certain conceptions of the phenomenology of conflict situations. 


Karl Marx, the most consequential proponent of conflict, argued that class struggle was the real driver of epochal change in all human society. This struggle was powered the underlying modes and relations of production/reproduction and distribution in society at large. Those modes and relations were at once unequal, exploitative and unjust -- and contrary to human nature. The contradiction(s) thus build into the relations led to inevitable conflict (in a Thesis-Antithesis-Synthesis format) and the pressure to resolve it -- typically and logically in the direction of a new economic and social order. Contradiction, it has been argued even by more recent scholars such as Marcuse, always has (built into it) the drive toward its resolution.

In his paper titled "Social Conflict and the Theory of Social  Change", Lewis Coser explored the functions of conflict (he clearly preferred the term conflict to violence) in the broader context of social change. His exploration focused on: (a) the impact of social conflict on change within enduring social systems, with particular reference to consequences for such concerns as "institutional rigidities, technical progress and productivity", and, (b) the "relation between social conflict and changes [or overhauls/overthrows] of social systems" (Coser, 1957: 197). 

One clear outcome of this exploration was Coser's proposition, inspired by George Sorel, that "conflict prevents the ossification of the social system by exerting pressure for innovation and creativity." He wrapped up his optimistic conception of the operation, and consequence, of social conflict in the following terms:
"The clash of values and interests, the tension between what is and what some groups feel ought to be, the [contest] between vested interests and new strata and groups demanding their share of power, wealth and status...[all of which] have been productive of vitality." 


G
eorg Simmel has presented perhaps the most intriguing and refreshing post-Marxian characterization of the idea and process of conflict. His version offers, as in a wedding, the opportunity to bring into the conversation "something new and something old, something borrowed and something blue" (that is, something that's not red -- figuratively). 

He argues that conflict is inseparable from social interaction, and thus “sociation”; and is even itself a form of sociation. He sees conflict, indeed, as “one of the most vivid interactions” and, as an example of social interaction, by definition beyond the scope of social acts by the lone individual. Furthermore, conflict is not the cause of some sort of pathology of human interaction, but the resolution or ‘cure’ of such pathology READ MORE

Sunday, July 17, 2016

MUSIC: Simi's Love Don't Care


CLICK HERE FOR: THE VIDEO OF LOVE DON'T CARE


The song speaks volumes and eloquently for itself, through its thoughtful lyrics. But Simi's earnest voice is without question the best part.

The video projects an economy of space-time, and a yin-yang of frugal yet nuanced optics. The instrumental accompaniment allows our ears and eyes instances of slow-motion swaying and calculated sliding across Time's measured pieces in lock-step with Simi's own back-and-forth pleadings and single-minded narration. It's all, deceptively, a next-door affair.

Simi's a rebel with a personal yet resonating cause. For Papa and Mama be her protagonists, whom she loves both with all her restless heart. All told, Love Don't Care is a contra-simile.

Here are the lyics.


Saturday, January 09, 2016

Shower Me, by Jumabee and Cynthia Morgan, is A Call To Art


Every ardent fan of contemporary African music -- and who thus (or also) knows something about her -- seems to love Nigeria's Cynthia Morgan, for different puzzling reasons. I do know less than most, and hence, perhaps, the puzzle. Still, I sense that only scattered handfuls of people, even in her own country, pay informed/knowing and truly sustained attention to her craft and so, so to speak, consciously follow her, by widely downloading her tracks; or otherwise shadow her artistic journey in any coherent or avid way. But she's become a star -- all, it seems, of a sudden! I've really been struck by that, these past dozen days or so. 

I don't include in the crop of onlookers I've alluded to those who design nomination procedures for music awards, or those they task with actually naming names for the giving. Perhaps Cynthia Morgan's cultivated bad girl image endears her to them, and to those channel mandarins not so included who actually decide on what tracks to air and how often, and so make them the most money. Of course, the airing 'inflates' the coffers, which is always the wanted thing -- if not the only good thing. And it bloats subsequent pageviews for the tapped ones. 

And then you break up the award categories and look at the segmented numbers and exclaim to all and sundry, seeing no need for further explanation: "Eureka! Here's the one, here." Or the two. Or the three. The numbers now speak for themselves and influence the 'popular' voting that follows, and that in turn validates the numbers; or something like that. Perhaps this is the subconsciously nagging and fuzzily internalized substance behind Olamide's recent verbal lunge at maestro Don Jazzy.

Though the times are changing, we still live inside the boundaries of highly fractured totalities here in Africa, as in the rest of the world. Much of the music that we hear alongside our day-to-day pursuits does not have the force to nurture, inside our still exceedingly parochial ears, substantial 'cross-over' fidelity such as should lead to more than moments of truly listening to and fairly appreciating, and so appropriating, otherness. Beyond borders, ears resist even more stubbornly all invitations, which are more and more frequent nowadays, to cross over and embrace difference -- and, often, the star-quality recordings that difference represents that's not quite amply evident at home, yet. Commercial decisions mirror the parochialism, which justifies them. Its a (mostly) vicious circle, which smart technology and changing lifestyles are only now beginning to significantly disrupt. Enough of that, though, for now.

I prefer Shower Me, by Jumabee and Cynthia Morgan, to German Juice, which is sung by her 'alone'. In both form and content, German Juice is more crass than art; and more of a mundane, habitual activity than a creative, generative one. But, for reasons broadly explored above, it has stirred many fans, as evidenced by 396,484 pageviews up to most recently (11:16 a.m, January 9th, 2016). It is even the reason Cynthia Morgan was nominated for The Best Reggae/Dancehall Single at the 2015 Headies. She won the award, too!

In contrast to German Juice, Shower Me has attracted only a small number of (online) fans (7,900 pageviews at 11:18 a.m. on January 9th, 2016), who in similar circumstances elsewhere are dubbed a cult following. But the song shows greater creativity, by far, than German Juice. It displays more passion and more vocal courage, not to talk of vocal range. As voice is 'connected' to the ear, and only the ear, this is also aural courage. German Juice does not demand such courage, but displays only faithfulness to what one is, in a looping kind of effect, stuck with -- as she herself has implied following her award at the Headies 2015. But Shower Me is evidence enough that this reggae-induced, 'populist' frame of mind ensconced in an "auto-pilot" kind of habit, which artistes have difficulty parachuting from, can be meliorated at the rough edges, and even breached to great effect, by sheer tinkering and reflective, empathetic disruption.

There's so much mutually-reinforcing melody and harmony and pitch in Shower Me; so much attention-catching symphony of voices and sounds. It's a ballad, for sure, and a duet; a duet which is neither a spectacle nor a treat of musical 'chairs' offered for its own sake, but a unity of vocal opposites -- a smooth-flow of yin-yang -- subtly guided by known laws of motion. Jumabee's baritone makes this song soar, and soar. His golden roar makes the whole vocal mix heavenly. One feels levitated by this whole song, for all of 4:14 minutes! Shower Me, then, is a work on the road, surely and squarely, to fine art; and is itself a road to there. I think the road reaches its destination. 

Another video which strengthens Cynthia Morgan's credentials as a diva is Simatiniya, in which superstar Burnaboy happily makes a silent -- as in silent movie -- appearance, and steals 'a real kiss'. She has sung, with passion and dedication, in a good number of songs already, and this certainly makes her stand out. But if I were to 'shower' her, right now, with an award and all that goes with it, it would be for Shower Me -- with ample reference to Simatiniya (229,741 pageviews at 11:15 a.m. on January 9th, 2016).


H
ere, click to watch the video, and mjienjoy





HERE: Simatiniya (in which Burnaboy makes a totally silent cameo appearance) is another song which validates Cynthia Morgan's credentials as a talented singer with a captivating vocal range.

HERE: German Juice, immersed in typical reggae tunes and tones, and 'stage'-managed mannerisms. You tell the difference.

Sunday, July 05, 2009

Gatherer: Haiku

Is what keeps me going:
To see all that yin-yang yields.
Feets! Don't let me go.