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.
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.
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.