Kanye West’s Power: Religious Metaphors Including Those in Nature

Kanye West’s Power, his latest video, is a locomotive painting. The director Marco Brambilla draws from Greek, Judeo-Christian, Egyptian, Hindu, and Buddhist religious metaphors in what is a visual video masterpiece.

The video opens with West’s eyes lit as if superhuman.

Behind him are Ionic columns, typical of Greek architecture. The director choose the Ionic columns over the Doric and Corinthian design because the latter are more complex in architecture, design, and engineering. Among the Greeks and according to architects, the Ionic design is the greatest of the three columns. The Ionic is more complex in design including scrolls representing education and vertical lines akin to rams horns. In addition, unlike the other designs, the engineering, the design is more resistant to earthquakes.

Behind West and the columns are clouds that grow darker from the beginning to end of the video. I see something similar in scripture. In the Torah and the Old Testament, Moses went up into the mountain where God was the cloud (Exodus 24:15). When God was angry there was thunder and lightning, making the people tremble. (Exodus 19:16)

Returning to West, an industrial chain hangs around his neck. It is far heavier than any human could hold up, indicating his godlike power. From the chain hangs a rather large pendant or ornament with the Egyptian god Horus. He was the greatest of the Egyptian gods with the head of a falcon and the body of a man. In his many manifestations, he was a god of war, protection, and the sky. As the god of the sky, a connection could be made to the clouds in the sky, the backdrop in the video.

Fanning out away from the clouds, the columns, and West are two women with antelopes horns and pounding staffs. The horns are those of antelopes. Two Hindu deities, Vayu, lord of the winds, and Chandra, a lunar god rode on antelopes. The pounding staffs allude to Moses using the lowly herder’s staff to do God’s will: Moses faced Pharaoh as they struggled over freeing the Hebrews from bondage. In one memorable moment Moses staff transformed into a snake. Pharaoh’s magicians did the same but Moses’ snake devoured the magicians snakes.

Winged human creatures sit at Kanye’s feet with connections to two religious images. Cherubim protected the ark containing the stone tablets of the Ten Commandment as noted in the Old Testament. In Hinduism and Buddhism, the garuda is a bird-like human that is divine.

Above West are a pair on either side pouring out oil from jars filled with never-ending oil. Throughout the Old Testament, powerful kings like David are anointed with oil by prophets to affirm their power and leadership through God’s anointing. In the New Testament, Mary anointed Jesus’ feet with a perfume–in some translations it is oil or ointment.

The video is only 90 seconds and begins to speed up towards the end. A veil drops, perhaps a reference to the rent or torn veil at the temple after Jesus’ crucifixion. For Christians this tear represents abandoning the temple; the old, Judaism is replaced with the new, Christianity. The power shifts.

In the far corners of the video, grapes are in a bowl, proffered as an offering by two women. This is certainly a reference to Dionysus, the Greek god of wine and fertility.

Throughout the video, we see images of knives and swords in the hands of men. A knife comes down from above through a gold crown or Celtic circlet–consider the shift of Celtic tribalism to kingdoms in which kings and queens wore crowns to industrialism represented in the chain around Kanye’s neck–above West’s head. As the video comes to a close, two men come down on West with swords as if in ritual sacrifice.

The video ends. We never learn West’s fate. Does he remain powerful? Was his power an illusion? Does he live? Does he die?

Do a few lines from the lyrics might answer these questions: “No one man should have all that power//The clock’s tickin’, I just count the hours//Stop trippin’, I’m trippin’ off the power”?

Everything but West is a mirror image in the video. Why? We should look at ourselves in the mirror as we struggle with the meaning of power. One look at the image and there is human frailty.

The video with all its metaphors is a masterpiece.

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Predators: Survival of the Fittest in a Busted Paradise?

SPOILER ALERT

To know your enemy, you must become your enemy.    ~ Sun Tzu, The Art of War

If you’ve been on this planet long enough you’ve seen Predator, Predator 2, and Aliens vs. Predators (AVPR). The latest installment is Predators.

 

Beyond the earlier films, Predators is a product of many influences and reflects history. It is  an homage to Richard Connell’s “The Most Dangerous Game,” a short story of humans hunting humans. I think of slaveholders hunting the enslaved in the forests and swamps of the American South up to the mid-19th century. Ultimately, the film is about “survival of the fittest,” a term used to describe one of Charles Darwin’s scientific theories.

The story or plot. A multicultural group is dropped by parachute into what looks like the Amazon. Paradise? I think not. Battle-ready mercenary types–all except for a doctor who is the odd one out–do not know their where-a-bouts.

Soon they learn two things: that this aint planet earth and they are being hunted. How do they know it isn’t planet earth? First, a leaf dropped in water spins as if the gravitational pull is out of wack. Second, the sun doesn’t move. Perhaps in both these instances the rock they are on is no longer spinning on its axis? And third,  they walk to edge of a ravine looking up to see three planets above them with one so close it looks like it could be touched. Perhaps the ravine is the point where the planet broke apart. Are they on a moon? An asteroid? A planet? A chunk of a shattered planet? No matter. They are trapped.

The hunted realize they are being hunted in a jungle of a game preserve. They are the animals. One by one, they get picked off. The first to go are a Latino and African American–both men. The screenwriters and director stuck to the old horror/science fiction trope of killing off the men of color first. A second African American man (Lawrence Fishburne is hilarious) isn’t far behind when he is blasted to pieces by the predators, the hunters.

Throughout the film, one character attempts the philosophical concluding that hunting has alway been primal to humans, what it means to be human. So are those hunted in the movies just as soul-less as the alien predators? Is this a morality tale concerning predation by people of other creatures and the planet earth in 2010? Maybe the filmmakers aren’t that smart. The predators are getting to know the humans.

Homo sapiens throughout time have been aggressive.  Much of the first activity of humans in pre-history was hunting and gathering as means of survival. Farms, villages, towns, and cities came much later. A sly visual reference to this pre-history are the stegasaurus-hunting dogs encountered by the game/humans. Since pre-historic times, in modern times, humans have become the mightiest hunters on the planet.

Sadly, for the people in the movie the tables have been cruelly turned, and they are hunted. Royce, the central character, played by ripped Adrien Brody is the chorus of this Greek tragedy, the narrator of the human/alien murder and mayhem. As the plot progresses, he muses out loud, “We’re being hunted,” “we are the game,” “we are being flushed out and tested.” Duh.

Mud was a critical plot device in the the first Predator, and water and dirt sources of life, show up again in Predators. It will save the humans. If you saw the first movie starring Arnold Schwarzenegger, then you know what I’m talking about. Mud once again become emblematic or symbolic of life, as one hunter is triumphant over another. Go see the movie to learn the meaning of the mud, and how Royce figures out the Predators’ game.

 

In the end, two survive, a man and a woman. We are left with the image of Adam (Brody) and Eve (Alice Braga), two busted people left to muck it out in  busted jungle paradise. Or have they already been kicked out of paradise, and this alien rock are the wages of sin? Looks like hell to me.

At this point Adam and Eve need to be on a first name basis because all they have are each other:

 

Adam says, “I’m Royce.”

Eve responds: “Nice to meet to meet you, Royce. I’m Isabella.”

He closes with: “Let’s find a way off this *&^*^%* planet.”

Ah, courtship and romance.

With that said, I see a Predators 2 in the works with more stegosaurus-hunter dogs–agains shades of runaway slaves trapped in a tree by a hound–bounding through the jungle, along with a star-studded array of aliens skulking about.  Nimrod Antal–one can only hopes he directs again–bring it.