 Today I'll be talking about the fourth cinema, the fourth cinema with definite article acknowledges Barry Buckley's fourth cinema, but focuses on an African film philosophy whose deep history and recorded history are interwoven. Barry Buckley's fourth cinema takes its cue from the world's hierarchical framework of the first world cinema, the second world cinema, the third world cinema, and then fourth cinema, which he calls indigenous cinema that is indigenous with a capital I. For this reason, it is not surprising that Buckley's finds inspiration in the classical Greek headstones, the metaphor for the history of fallen soldiers arranged in chronological orders for his concept of fourth cinema. But the fourth cinema that concerns this talk is that of a living tradition that resists conformity to the western structures of hierarchy, as well as linear measurement of time which informs the chronological view of history in Buckley's thesis. Fundamental to the ideas of the fourth cinema in this talk is the cyclic passage of time in which an African film philosophy or philosophical tradition keeps returning to us. The fourth cinema does not come as a little addition to the fourth, second, third cinema framework, but come as a cinematic assistance of an indigenous Yoruba, African epistemology, morality, spirituality, and tragedy, which has gone through several media of storytelling. For the inventions of film technology, unlike Buckley's fourth cinema, the very ideas of the fourth cinema does not solely celebrate and honor the past, but also mediate between the past and the present, between deep history and recorded history. At the farcrum of the celebration and mediation is the cinema of self-sacrifice, of trinodic essence, of self-reflection, and of critical traditions that questions and confronts unbecoming philosophical and all cultural attitudes of post-colonial agents who tailor morality to their own needs. But to grasp the fourth cinema, the concept of the fourth cinema, it is crucial to revisit and already interpret Shoyinka the fourth stage as the point of departure. The fourth stage, three dramas, one tragedy. In the first stage, Shoyinka draws our attention to three plays. These are plays in the ritual context of Obatala, the Yoruba god of creation. The Yoruba god of iron and creativity, and of shogo, the Yoruba god of lightning and thunder. For Shoyinka, two of the plays constitute tragic arts, but one gives birth to Yoruba tragedy. The Yoruba tragedy could be understood through the mysteries of Obatala. Drama one, the play of Obatala or Uri-Shanla. The play of Obatala is the first one. Obatala is the Yoruba-Mura god and sculptor who molded human beings into different shapes. The Mura uprightness of Uri-Shanla in the Yoruba deep history give credence to the knowledge of Obatala as the early sage of Ifan. The god of purity and of creativity. For this reason, Obatala or Uri-Shanla was defied as the god of morality. Shoyinka describes Obatala's drama as the drama of form because it is readily available to provide emotional prelude and resolution for the dramas of other deities such as Ogun and Shogo. It is because Obatala's plays of form comes before and after all other dramas of self-recreation and self-reformation within the Yoruba universe. That informs Shoyinka's remark that it is not the idea in religious art that is transmitted into wood or interpreted in music or movement, but a quintessence of inner being, a symbolic interaction of many aspects of revelations within a universal context with their Mura apprehension. The motif of Obatala is white, the metaphor for its purity and omblimist morality. For the Yoruba, pure morality is what Obatala embodies and for Obatala the purity of morality can only be maintained and sustained through passive strength that brings loneliness and suffering to the deity. Shoyinka therefore explains that Obatala's drama finds resemblance in the European passion play, but it stresses that Obatala's drama is not the drama of acting man, but that of suffering spirit. Drama two, Yoruba tragic drama through the mystery of Obu. This is the primary drama in Shoyinka's the first stage. The drama of Ogun, the first actor and the acting man. A myth literature and African and the African word, Shoyinka explains that with creations of the multiple Godhead began a transference of social functions, the divisions of labor and professions among the deities whose departments they were thereafter to become. Knowing that none of them is complete without orders, the primordial deities therefore functioned in various ways to complement and complete their individual incompleteness. Meanwhile, there was an impenetrable jungle described by Shoyinka as primordial jungle, which created individual distance in the Pristine Yoruba society. But it was Ogun, the first actor or acting man who penetrated the jungle for others to follow. It is with this art of clearing the way and breaking barriers that isolated the Pristine Yoruba society emerged the transitional or creative essence of Ogun. Perhaps that explains the reason why Ogun is called the Pathfinder. Rewarding Ogun for this feat, the deities offered Ogun the crown to be the king over them. Ogun declined and continued his journey until he arrived at Irei. At Irei, Ogun was well received, later returned its hospitality by defending the city against its enemy. In gratitude, Ogun was offered the crown of Irei. But when Ogun appeared to the heathers of Irei in his war regalia covered with blood, the heathers quickly dialogue with their legs. Of course, Ogun declined and retired into the mountains where he lived in solitude, hunting and farming. The heathers of Irei persistently persuaded Ogun, but he later agreed, came out of his solitude and was crowned the king of Irei. Ijala, the choric music of Ogun teaches us that Ogun leads his warrior to many victorious battles in the interest of protecting them against their enemies. But during a battle, Ogun was thirsty. The only thing available at the moment was the palm wine, which had placed close to him by Işu, the Yoruba trickster god. For Ogun, the drink was delicious. Before you can say Jack Robinson. Ogun was drunk and was killing everybody including his warriors. The mistake of Ogun gives back to what Shoyinka terms Yoruba tragedy. The tragedy could be described as communal tragedy because one, Ogun surrenders his individuation to bring creativity into Obatala's creation. Two, Ogun sacrifices himself for the development of Yoruba civilization and he does that within the oneness of Obatala. Three, the communal psyche of the people is strengthened through the artistic creativity and technology of Ogun. For this reason, Shoyinka premise is knowledge of the fourth stage, which it described as the vortex of archetypes and the home of the tragic spirit on the creative destructive essence of Ogun, which strengthens the communal psyche of Ogun. The Ogunian Choric Union as well as spectators or aspect actors to use the term of Auguste Bois. They are not in the tragic experience of Ogun. The Choric Union and the aspect actors immersed themselves in the metaphysical world through the tragic music, the logical dialogue and what Shoyinka describes as dance of images. This dramatic experience in ritual context is what Shoyinka, the modern tragic dramatist, recreat through the medium of physical contemporary action, reflecting emotions of the first active battle of the wheel through the habits of dissolution. Three, the drama of Shogo. Unlike Obatala and Ogun, whose drama brings cosmic balance, unity, peace and harmony to the Yoruba world. The drama of Shogo, the Yoruba god of lightning and thunder, distorts the harmonious universe of Obatala and Ogun. Perhaps that explains why Shoyinka claimed that the tragic actor for the future age already the present for Europe is that new technique ancestor of Shogo, the god of electricity, whose tragedy stems similarly from the principle of a preliminary self-destruction. But as argued here, the age of Shogo, the tragic actor for the future age in Shoyinka's sense, is already in the African world. The reason for saying that is because Shogo is the archetype of Eleshin in Shoyinka's death and the kings of Osmen and B. Ibandeli's Eleshin Yoruba. And today we have a lot of Eleshin, not only in Nigeria but also in the continent. Of course, unlike Ogun's drama in which Ogun surrenders his individuation in the interest of commonality, Shogo's drama is the drama of domination, of individuation, of ego inflation, of conquest, of colonization and so forth. Shogo's petty tyranny, self-destruction, retributive justice, blood-letting attitude and so on which brings forth his tragedy is the reason why Shoyinka insist that we will not find the root of Yoruba tragedy in the mysteries of Shogo. Shoyinka therefore finds a second drama of passion as the very call of Shogo's tragedy. It is because Shogo's history revolved around petty tyranny. Its self-destruction was the violent central explosion from ego inflation. The fourth cinema, one-camera multiple perception, who grabs the concept of the fourth cinema. Let us begin by exploring how the dramas of gods play out in the metaphysics of color and light. The fourth cinema through the metaphysics of color and light. The color of obatala is white. The color of Ugun is black. The color of Shogo is red. But let us start with the color of obatala and Ugun. In the dramas of obatala and Ugun, white and black are complementary colors. These colors for the Yoruba symbolize the complementarity of creation and creativity, of former reform, of birth and rebirth, of passive strength and active strength, of inner essence and transitional essence, of conformity and rebellion, of certainty and so forth. For the Yoruba, white and black do not symbolize oppositions, such as good and evil, light and darkness, truth and ignorance, as in the Roman medieval and modern cultures of Europe. Black, the color of Ugun, is not the same as dark. But through the mysteries of Ugun, the Yoruba consciousness of black is metaphysically connected to that of dark, the unknown world of obatala. This is based on the common experience of how black color can mix in with white color and transformed to dark shades or of white or dark white. But no matter how Ugun blacks mix in with white, the black can never become the pure white of obatala. It is because the pure white of obatala has indestructible and incomprehensible meanings in the Yoruba mind. For this reason, Ugun, like every acting man, can only transition to dark white or off white or other dark shades, but never to pure white, the plastic beauty and omblimist morality of obatala. It is by reflecting on the play of light and colors between obatala and Ugun that one could clearly see that no philosophy, especially moral philosophy of acting man can be considered pure philosophy. Of course, this is not the case in the philosophical teaching of Immanuel Kant and some modern philosophers. But if the plays of white and black can only introduce light and dark to a multitude of colors, then no color for the Yoruba can become as pure as obatala's white. They can only become a lighter or a darker fashion of themselves. It follows that in the world of Ugun, like that of every acting man, there is no metaphysical division between the light and the dark. But the contrary is expressed in Christian theology. It is striking to know that the play of white and black of obatala and Ugun is the metaphysical source of what could be called the fourth cinema's camera. The camera is configured to reproduce white light as in the motif of obatala. And it not covers with a lens, the camera remains passive and it produces white light in the pure universe. Hence, what could think of obatala as the fourth cinema's camera of creation and Ugun as the lens of creativity. And so far the motif of obatala for the Yoruba symbolizes the pureness of morality, which is only possible through the passive strength of obatala, then it is not absorbed to say that the camera is originally designed to reproduce pure white. The metaphor for pure philosophy of obatala. The lens therefore becomes the active device that brings action, transformation and creativity to the pureness and passiveness of the fourth cinema's camera. Just like Ugun, the lens sacrifices its individuation and brings activity and creativity to the pristine existence of the camera. If one can relate to how Ugun transformed the pristine Yoruba society, then one can grasp how the lens allows the fourth cinema's camera to bring actions and creativity into the pure universe of the camera. This process is possible and discernible through the metaphysics of light and color in which Ugun surrenders its individuation and shows us the transitional will that brings creativity and activity to the pristine Yoruba society. In the Yoruba metaphysics, the sacrifice of Ugun could be understood as that of black color, which transition to dark shades to help the endless obatala and to transform the Yoruba world. It could be apprehended as the self-sacrifice in the dark world which brings out different shades of color through the matrix of death and becoming. In artistic creativity, the transitions of Ugun from black to dark shades informs the transition of a shadow from black to dark and vice versa. Meanwhile, Ogg's shadow for the Yoruba is the metaphor for human conscience. It is because Ogg is internalized as a close friend who always checks and guides our moral attitudes and behaviors. The internalization of Ogg is based on the Yoruba consciousness of the pristine existence and experience of Ugun, the protagonist actor and the mythological architect or model for self-recreation. Because if there was a value system upon which individual shadows guide and check their moral behaviors, then the consciousness of Ugun, the first acting man and the first Ogg would have set the standard for the Yoruba matrix of death and becoming. Perhaps that would explain why Shoeinka claimed that Ugun not only dared to look into the transitional essence, but openly bridged it with knowledge, with art, with vision, with mystic creativity of science, a total and profound hebristic assertiveness that is beyond any parallel in Yoruba experience. For this reason, Ogg the Yoruba metaphor for human conscience connects and disconnect the drama of Shungu and that of his elder brother Ugun in the play of light and color. Red is the color of Shungu, the color resists conformity to the oneness of Obatala, but white it requires the play of white and black to transform its dominant nature. Red always transition to the lighter or darker version of itself, whereas red objects can only produce dark shadows. Because it is unnatural for red objects to produce red shadows. This shows that the wheel of Ugun's black to transition into dark is the point of connection between Ogg the dark shadows and the red color or red object. Perhaps because the dark shadows of Ugun, the first acting man, have been interiorized as the standard for the Yoruba matrix of death and becoming, which continue to strengthen the commoner psyche of the people. The connection is possible because black color is the niches of red, yellow and blue, the primary colors in pigment or dye. But given its dominant nature, red always resists conformity to the transitional wheel of black. This is the same way the ego inflicting and on Yiddish Shungu, who is a lesson in showing cadet and the king of man and be a bandit is a lesson about always resists conformity to the transitional essence of Ugun, the mythological archetype and the model for self-recreation within the oneness of Obatala. This is the point of this connection between Ogg and the dark shadows of Ugun. And the red color of Shungu. Hence, the dramas of red informs the conceptions of the dramas of Shungu as the dramas of individuation informed by insatiable quest for conquest, for oppression and for domination. The drama of Shungu is the drama of ego inflation, of petty tyranny, of self-destruction, of bloodletting, of quality, of conquest, of domination, of colonization and so forth. The drama could be called the drama in the rage and in the age of Shungu. The rage and the age of Shungu is the modern rage. Wearing canons, bombs and all sort of missiles are discovered and invented. But for the Yoruba, the rage and the age of Shungu begins a long time ago. With the Yoruba history of Shungu, who emits fires, who emits fire and rains missiles of thunderstorms on its subjects and alleged enemies. It follows that the domination of Shungu, individuation as against the submissions of Ugun, individuation is the primary reason why Shoyinka insists that we cannot find Yoruba tragedy in the mystery of Shungu. Shoyinka finds Yoruba tragedy in the mysteries of Ugun. However, they had the science, the religion and the philosophy in the play of light and color permit the fourth cinema's camera to attain the philosophical cheater del, through which the mysteries of Ugun and Shungu are brought from their ritual context into the fourth cinematic context. It is striking to know that the camera is to the fourth cinema, what the eyes is to the spectator of the fourth cinema. It is because the camera lens control light and color, the same way spectator's eyes controls their perceptions of light and color in the fourth cinema. Biologists teach us that at the back of an audience eyes is what they call retina. Where rods and cones, the two photoreceptors are located. As photoreceptors, cones receive colors. Why rods receive light? Perhaps they do that the same way the fourth cinema cameras receive light and contrast color with the head of lens. But for the cinema, for the camera and spectators, the idea of photoreception is the basis for the physical and biological experiences that teach us that white light illuminates, reflects and absorbs other colors. That explains why the result is always white when we mix red, green and blue, which are the primary colors in light together. So it is not surprising that the metaphysics of color and light is the basis for the invention of electronic components for photoreception and photoprojection in screen media such as camera, projector, TV, computer, phones and so forth. But the metaphysics is embedded in deep history and recorded history which are interwoven in the perceptions of images and sounds in Yoruba ritual drama and in the fourth cinema. Now, from life to recorded sounds in the fourth cinema, the perceptions of images and sounds in Yoruba ritual drama and in the fourth cinematic drama are distinct because the fourth is life drama, why the latter is recorded drama. But the consciousness of the multiple perceptions, life or recorded, is based on Yoruba knowledge of light, of color, of sound and of matrix of death and becoming within a common universe of the unborn, the ancestor and the living. So in fact describe the tragic music of Ogun in the fourth cinema as highly charged but also rendered to give expression to the consciousness of Ogun. So in fact describe the tragic music as the music from the habits of transition. Miwai tonality, the systematic arrangement of fishes into a pitch class is the reason why Shoyinka insist that European concept of music is a musical to the Yoruba art music such as Ijala Ode and Ierefa in the fourth cinema. The integrations of poetry and myth in the tragic music is another reason why Shoyinka claims that the modern European conceptions of music is a musical within the context of Yoruba ritual drama of Ogun. Another music in the fourth cinema is the music of Shingo but unlike the music of Ogun, the music of Shingo is recorded to invoke Shingo's spirit of violence, of oppression, of retributive justice against his alleged enemy. The music is neither for mourning nor for strengthening commoner psyche. The music is hypocritical as composed by Sankofan whose primary concern is the entertainment of Shingo. The music in Shoyinka's death and the king's man and B.I. Bandeli's elation is either for pleasure or for massaging the self-inflating ego of Shingo, the archetype of elation in Shoyinka's drama and the B.I. Bandeli's renewed cinematic interpretation. I would like to conclude by saying that the confrontations in Shoyinka's death and the king's man and B.I. Bandeli's elation is indeed largely metaphysical and not unconnected to the perennial problems of morality, of spirituality and of tragedy. This is strongly supported by the dramas in ritual context. It is validated by the play of light and sound in the fourth cinema. It is stressed by the tragic music of Ogun. Meanwhile, I want to understand about Hala, Ogun and Shingo as apparatus, light and colors in the fourth cinema. But Ogun and Shingo are the main identified characters, a lesson and O'Lundi in the narrative universe of Shoyinka's play as well as in the fourth cinemas of B.I. Bandeli. Since there is no character like Obatala, one could understand Ogun as the only acting man and moral agent who sacrifices himself within the oneness of Obatala. But Ogun remains memorable through his color, tragic spirit and tragic music. Why the death of Shingo, the archetype of elation is metaphysical and individual. The death of Obu is metaphysical and commoner. The metaphysics of sacrifice of Obu is best understood through his transitional and creative essence, which is evident in the knowledge of Obu as the Yoruba deity. In the metaphysical understanding of his black color, in the Ogun metaphor for the first Ogg in the Yoruba universe, in the lens of the fourth cinema's camera, in Ogun the archetype of O'Lundi in Death and the King's Man and in Lesheba, in Ogun the being of the being in the dark world of Obatala and so forth. But the most important thing about the fourth cinema is that we, I mean the spectators, are metaphysically confronted by ourselves either as Shingo, the archetype of elation or Ogun, the archetype of O'Lundi. Thank you. Cover the table? Yeah. Yeah, thanks. You like to sit right there? Yes, you sit down. Okay. Thank you so much for that stimulating, can you hear the, there's a lot of moving parts here. I don't know if people online can hear us, but thank you so much for that stimulating talk on the fourth stage or the fourth cinema, making use of Shingo's idea of fourth stage. And I was wondering if anyone here on the webinar has any questions, you can put them in the Q&A or the chat. I'm not seeing any yet, but perhaps you see some there. But let me start out. Anyone here in the audience have any questions for Dr. Bello? All right. Well, I was wondering if you could say a little bit more about the connection. So perhaps not everyone here has any questions. The connection. So perhaps not everyone here has read the fourth stage. But if you could say a little bit more, I don't know if anyone has read Dr. McKeen's Horseman or are seen on Netflix, the recent kind of adaptation of Shingo's play. But I was wondering if you could say a little bit more about how the drama of Shingo connects with Shingo Oba rather than open. Okay. If you look at the play very well and the theme, you will see what Shoyin Katt describes as Oba Thala, the fact that Oba Thala is ready to provide emotional prelude and with solutions to the play. And if you look at the theme, you will see that the theme actually starts with celebration. If you see if you look at it, you will see Elishin in the midst of women drinking, eating and so forth. Of course, Elishin is expected to be somebody like a role model in the society. Somebody who should be willing to sacrifice for the development of the city. But in the theme, you see Elishin who is drinking and all that. In the following scene, you will see Elishin on the horse. You will see Elishin dancing different kind of music. And if you listen to this music, the lyrics is merely to praise Elishin for nothing. So he was dancing here and there. But that day, Elishin was supposed to be the one taking care of the business that connects the world of the living, the unborn and the dead together. And that is where the ideas of human sacrifice come. And if you look at it very well, you will see that Ogun the reason why I describe Ogun is the fact that if you look at it critically, you will see that Ogun was not available. You only see Ogun in the evening. And the reason is that Ogun was outside studying in Cairo. The same way Ogun was living under the mountain in the Eastern Universe Society. For Elishin Oba, the position is a very powerful house. Let me talk about the Elishin Oba. The name Elishin Oba is actually derived from O'no'Kuenshin in the old O'no'Empire. O'no'Kuenshin is like the owner of the role  Entertain                                                                                                                                                                                                                              but it is believed that the king is like Eshin carries every responsibility, the responsibility of the single spirit. But of course, it is difficult for the king to actually look after himself. You know, the king is like, let me use this call as an example. In the traditional Yoruba society, there's what we call Atropa. The king is like Atropa, is Atropa's local hour. So they use the local hour. And there's a saying about Atropa that the lamb does not see his own basement. You know, the lamp that gives illuminations to all the surrounding. But his basement, there is darkness there. So unless he is there, like somebody who watched or looked after, or maybe let me check the moves of the king, in order to correct him. Because in the old age empire, the Yorubesis are more powerful. I mean, the people of Yoruba, they were more powerful than the Yoruba. So the king needs somebody to check him. And to Yoruba, Yoruba sees Eshin and the king as one. So, and when the king dies, the role of Eshin, that particular Eshin, is automatically ends. And that explains the reason why Eshin is expected to go through the right of passage. So as to hand over the role to another person. But in the play and in the film, we see Eshin who doesn't want to leave the position. He wants to continue enjoying all the good life and all that. Where he was expecting, when people are expecting him to, to at least engage in the business of the day. So, and if you look at it critically, it informs us that Shogo marries his last wife in the marketplace. The last wife is Shoya. If you look at Shoya Cadet and the King Gosma. And Eleshin Yoruba. Eleshin marries that veggie in the marketplace. And we're talking about color red. You will see, if you look at the film, you will see that red is prominent in the costume of Eleshin. These are the themes. And if you look at it very well, these are leaders. Eleshin. They are actually expected to sacrifice themselves to promote the commonality and to serve the people. And if you look at Eleshin, they like Ogun. Eleshin, they were somewhere searching for knowledge. Because Ogun Yoruba believes that Ogun is the God of Hyon, is the Hunter, is the Warrior. He did so many things. He invented Hyon, he was blacksmith and so he did so many things. But we have Eleshin who has no time for that kind of moment for thinking and all that. Instead he was marrying wives, doing also dancing in the marketplace and all that. So that's the problem of Eleshin. And that is why we see the being of Shogo in Eleshin. And that of Ogun in Onundi. And if you look at the film very well, you will see that Onundi appears. We only see Onundi in the night. That explains that Onundi was actually living in a dark world or a known world, something God like Ogun. But Eleshin, he has no shame. He was dancing in the afternoon, marrying wives, seeing beautiful ladies and all that, dancing with women and all. So that's the problem. Well it seems like the problem of Eleshin is that even before he refuses to die in that moment, if he was supposed to be the one leading and serving the king, it seems like his whole demeanour has missed that part of the job. Yeah, that is the problem. Because of course Eleshin was not expected, he is not expected to die in the film. Because history informs us that the only Eleshin oba in the order of your empire actually died willingly because he thinks that he and the king, that particular king, they were close friends. And when the king died and he feels that instead of him to retire to one corner, he decided to die as well to show his loyalty to the friend and all that. And that explains why showing time says that the dead in that play is largely metaphysical. Because these people are not expected to die. Nobody is telling them to die, but they see them as women, women vaikū. Vaikū, somebody that carries others responsibilities. You know when you are in a leadership position, do you ever believe that you carry the responsibility of all the people, the city-state. And that is why people are not happy with the fact that of course there was agreement, unwritten agreement. But when it is time for Eleshin to go through the rite of passage and hand over to maybe the next person, the young guard, he decided to continue enjoying another. And that explains why showing time. He says that the district colonial officer has nothing to do with the, the intervention has nothing to do with the death. Because this death that we are talking about is inevitable. It's like somebody who is in the public hide, that everybody celebrates worship and all that. And they now tell you to hand over so that another person can take over. But you want to continue to enjoy that privilege, that position. So that actually brings about the problem. And the history of Shungu. Shungu was the fourth king of Oyo, the old Oyo empire. Of course Oyo was having problem with the Uwu at some point. And they invited Shungu to be the king. And because of that his elder brother Ajaka had to step down. Ajaka was the talking, had to step down for him. And in the process, Shungu won battle for the Oyo people and all that. And of course people embraced him to give him all the honor and everything. But after that, Shungu decided, he started suspecting one of his general as enemy. And in the process, he started using the same charm that he used in winning battle for them against his own people. And that is where the connection, where we see the connection. And like I said, the color of Eleshin and Shungu, they are similar. If you look at the film, you will see that it's not by mistake. And they actually use that color. Because of course the color is dominant in nature. And that color is dominant in the costume of Eleshin and Shungu. Thank you. Are there any other questions? No, online. I'm not sure if I'm seeing everything on my screen. Okay, great. Now you're allowed to talk. Okay. Good afternoon, everyone. Good afternoon. Good afternoon. My name is Kendi Uqadi. A wonderful presentation of Dr. Said. I really love your presentation. My question goes to the light of your presentation in terms of how can we reconcile your postulations about the fourth seminar, cinema, in relation to Sorenkegaard's postulation about levels of existence. In terms of the aesthetic level of existence, the religious level of existence and the philosophical level of existence. Is there a correlation between Kegelgaard's postulation and Sorenkegaard's conceptualization? Thank you. We may need to ask him to clarify a little bit. He was talking about levels of resistance. Kendi, could you please clarify? Okay, yes. There is a striking underlying similarity between Dr. Said's postulations about Obatala, Ogun and Shungu. Is there a relationship between these postulations in his presentation and Sorenkegaard's levels of existence? He postulated that there is a religious level of existence, a spectacle and ethical level of existence. Is there an underlying similarities? Of course, there is similarity. Because if you look at it critically, you will see that the purity of Obatala's morality and that purity of Obatala's morality in Yoruba's world actually as a meaning and the metaphor for that purity is actually based on the Yoruba's knowledge or let me say the connections between ethics and aesthetics. And that connection informs the concept of Iwalewa. When the Yoruba say Iwalewa, they are actually saying that Iwa, that is moral or ethics is beauty. Because for Yoruba, ethics and aesthetics, they are one. Ethics and aesthetics, they are one. Of course, in the European world, people do not know about that until when Figsstein actually talks about the oneness of ethics and aesthetics. And I think he did that in the early 20th century to say that ethics and ethics are one and the same. Two of them are metaphysical. And since we are talking about metaphysical confrontation here, of course we are talking about ethics and aesthetics between what Sho Yuka is talking about and the fourth stage. And the level of assistance that Sho Yuka is actually talking about is the first level is that of the living. The second one is that of the unborn. The third one is that of the ancestor. But the fourth one is what we are talking about here. And that fourth one is the same in the ritual context and in the cinematic context that we are talking about here. And that explains why I decided to start the fourth cinema by explaining the metaphysics of light and color so as to use light as a metaphor for morality. I mean, the pure morality of Obatalla or Iwalewa of Obatalla. Ivy, I think you typed and I also found out you raised your hand. Do you want to talk or should I read out? Would you like me to read it out loud? Okay, do you want me to read it out loud? So thanks, Said, for stimulating presentation. I have a question. I mean, thank you very much for that question. Of course, you just answered the question yourself. Very, very simple. Yeah, we can relate it to sick type syndrome in Africa. And that explains why I said that today we have a lot of energy. We have a lot of energy. We have a lot of energy. We have a lot of energy. We have a lot of energy. We have a lot of energy. We have a lot of energy. We have a lot of energy in the post-colonial Africa. We have a lot of energy. So they are not interested in the development of the continent. But they were there for their own personal gain. And that explains the problem of energy. The reason why energy does not want to leave that position because it wants to continue the enjoyment, the merriment, the oppression and everything. Thank you. I think I would add on to that. So we have the play, Death and the King's Horsemen. And now we have this film that just came out last year. So is there anything in the film and you're linking it for cinema that you can see commenting specifically on contemporary events? How does this become relevant to the contemporary moment as a film that just came out? I just talked about Elisha. Elisha is a very powerful leader in the hold of your empire. Very powerful. Of course, his role is not only about enjoying life. Dancing and everything. It's about working with the king so as to drive the society forward. And if somebody is there dancing, how will you have time to do what you are expected to do? And we have a lot of them in Nigeria today. If you ask me, they marry 30 wives, 20 girls and all that and they do all sorts of things. And recently, a lot of them, they hide money in the containers. They hide money in the, you see, that is the problem. They just want to keep enjoying. They don't want to do anything. And the problem is that if you look at the contemporary Nigeria today, in the Senate, you will see that people are there to enrich themselves. I think they are collecting 37 or 38 million every month in Nigeria's senator. But this senator, they find it difficult to pay $80,000 minimum wage for people who are working. You see where the problem lies. But of course, Cho Inka is actually talking to them. But they need that metaphysical knowledge to know that this is actually talking to them, for them to see themselves in that play and the film. So what do we make of the tragedy of Oluwende then? If we think of this as the next generation. Of course, the tragedy of Oluwende. It's the tragedy of every young individuals in Nigeria today who are struggling. In fact, they are struggling to make things happen in the country, in the continent. But these leaders, they will not give them opportunity. That's number one. Number two, the tragedy of Oluwende is actually based on the fact that Oluwende was trying to protect his people. And in the process, he sacrificed himself. That was the same way Ogun was trying to protect his people. But he was stripped by issue. And when he realized that he has killed his people, he felt ashamed and he left. The same shame, the same problem of Oluwende, that how can I do this? That's the same problem of Ogun. How can my father, you know, Oluwende feel ashamed when he sees rather getting married on the night he was supposed to be doing something very, very important to the society. They sacrificed. That is where the problem lies. But today in Africa, we have a lot of Oluwende too. They were there. They were just there. But nobody wants to listen to them. They are fathers. They are political leaders. They don't want to give them opportunity. Of course, the same thing happened to Oluwende. Of course, Oluwende will have been the next election of the theme. Already he has the knowledge to move the society forward. But the father is still enjoying the privilege. He does not want to give him opportunities. And then, I mean, with the death of Oluwende, is there a kind of breaking tradition? Did you have that? Go ahead. Separation. I'm afraid to play. I've not seen the film. I'm definitely going to watch the film now. But I think it's great. There is a film. Especially such an important play. You were saying as well that maybe people don't understand because they don't understand the metaphysical. So they can't see themselves in the characters. But I'm just wondering now the films come out. Have you seen that there's more kind of conversation about some of these things? Maybe relating it to some of the post-colonial issues? Just whether there's been more discussion and what the response has been to the film was my question, I guess. Yeah, of course we are expecting more discussion. Of course a lot of people are saying that the film is boring and all. I saw one review that's like that online. But of course we're talking about tragedy here. And you said it's boring. Yeah, so it's not being, the reception is not being very good. Of course I saw one review like that. The reviewer was saying that the film is boring and all that. But I saw two other ones. But of course the film is still very new. And I believe that people who start discussing the film anytime soon. Are there further questions? Judy, can you unmute yourself, please? Judy, make sure you're unmuted. Okay, while we're waiting for Judy. So I'm interested in the reaction to the film. The film is very theatrical, right? It feels very much like a stage play. And I wonder if some of the audience for films is expecting, you know, is the film format itself part of the issue with the way it's being received by the audience. Would someone who went to a stage play be saying the same things that the film audience is saying? Well, I think the setting is just to depict maybe the ancient world. Of course in the play, everything happens in the market. So, and the reason for that is to actually stress the centrality of Eleshi to that particular society. You know, market is like the public space. Where different opinions, where people are talking about different things. And that place for Eleshi is where he can only find enjoyment. Even said it in the film that in the midst of women, he finds enjoyment in the midst of women. So and perhaps because of that, the film maker, the film director, Biibandili decided to use the same market. Of course, I don't think there will be any other any other location or setting, any other suitable setting for that particular thing. Because even the setting is actually symbolic to the entire to the entire thing. They do all fine and selling. They do dancing and all that. And all these are actually telling us a lot about the society. So and I don't think that you, because we've seen a lot of film that people, they do it maybe in one room. People receive the film but it is not my everybody will not see the film the same way. Perhaps the person did not understand what is really going on in the film. Perhaps actually why the person decided to say that okay, the film is boring, they should have left the film as stage layer and all that. I don't know, was Judy ever able to say something? Judy, can you hear us? So if anyone else has other other thoughts or questions or wants to enter into the conversation, you can use the Q&A or the webinar chat. Or you can also just unmute yourself and speak to speak. Do they need to raise their hand? I think so if you want to speak, you can raise your hand and then you'll be unable to speak. Just as we're waiting for any other questions, just thinking about the idea of fourth cinema. I think when you first said this, we're thinking, okay, first cinema, second cinema, third cinema, and then fourth cinema. But it sounds like you're saying it's closely related to the metaphysics of the fourth stage and could you say a little bit more about what is the power of cinema and expressing this idea of transition? Okay, to say that fourth cinema, the fourth cinema is not the same thing as fourth cinema. It's to actually say that before the fourth cinema that we are talking about, before the invention of theme technology, we already have the metaphysical knowledge of this fourth cinema. And that explains why I say that this is not about these structures of hierarchy or fourth word cinema, second word cinema, third word snow. That's nothing to do with that because these fourth cinema that we're talking about has been in existence even before the invention of the technology. And that explains the reason why I started with the metaphysics of color. In our mind, these colors have been there and they have indestructible meanings. And these meanings affect the way we understand this cinema. That's number one. Number two is the fact that this fourth cinema that we're talking about, we can think about it within the literal context because in the literal context, what gives all the knowledge of this cinema is the light, color, and sound that we are talking about. And of course, our background, cultural background, that is what I describe as the matrix of death and becoming. Because of course, the way we are born is different from how we develop ourselves. And the culture in which we are born influence the way we think. And that explains what I describe as deep history. In Yoruba deep history we already have this cinema and that deep history begins a long time ago. We can think of this deep history as embodied history. The history that we have in ourselves but this history will let this history through orators and rituals. The history is psychological, is biological, is sociological, is metaphysical. But this history, we call it deep history because it is difficult to put into writing. But this history influences the creation or the invention of what I describe as the force in it. I don't know if I'm communicating. Right, do we have any other questions? Any other questions? Okay, so we're getting close to the end. Anyone wanted to say something, please say it now. Because we need to be able to be in the next ten minutes. But I've been thinking about Oolunde a little bit more. And you were supposed to be the next Elishim, right? He sacrifices himself at that moment to do his father's duty. And so what does that then do to the continuation of the necessary ritual? To be honest with you, the death of Oolunde is just there because he is ashamed of his father's attitude and he actually does that to save the face of the family. Let me put it that way. And of course his father was not expected to die or he's not expected to die. The death they are talking about is transitional. Like when you hand over your positions to another person, leadership, sure. And of course, Oolunde knows that it is difficult for him or it will be difficult for him to do that. That is why they give him everything he wants. Because they need another person to continue. That is why Shoyin Kai explained that continuity for you, Uba is not leaner. It is about a cyclical passage of time. It is not leaner, the measurement, the European measurement of time. And if you hand over the position for somebody who has fresh ideas, innovative ideas, it is because they give Ogun opportunity to do so many things. That is why he was able to do. But in the case of Oolunde, the father is not ready to hand over the positions to him. And Oolunde has handled why to learn new things that can actually bring development to the society. But we have a father who keeps marrying wife and enjoying life. He doesn't want to leave the position. And of course somebody like Eleshin dies. The moment the king dies. Because the moment the king dies, Eleshin also ends all these because all the privileges, all the positions they give him to another person. But this is what Eleshin wants to continue enjoying. He doesn't want to leave that position for another person. And that explains what Ivy was actually talking about the other time. About C-Type Lane syndrome in Nigeria, in post-colonial Nigeria. Here we have somebody who wants to be president for 30 years. Who wants to be, governor of Oolunde years. Who wants to be? And some of them, they will be there, they will bring their wife, they will bring their uncle by, they will bring their children and all that to be part of this. And in the meantime the Oolundes are dying. That is the tragedy. That is the tragedy. And Shoyinka finds similarity in his tragedy and that of Oolunde. And if you go and watch the film and the point when they were doing the tragic music of Oolunde, the talent of Oolunde, the camera zoomed onto Oolunde leads to stress the part that this is Oolunde we are talking about. We are almost all the time that you just said something about the singing. And I think that's important. So the voice of the narrator and then can you say something about how the music itself lends itself to the interpretation of the song of Oolunde. Yeah. Oolunde, you know when they are talking about Oolunde. Shoyinka talk about tragic music. All this music is singing to remember when you miss themselves and that's the abyss of transition. And I can try. I can try. Let me try. This is to say that in the Oolunde days Oogu was the king of Oolunde. Oogu was the protector of Oolunde people. Oogu or monocoiline. Oogu is the past point that is the one who invented a ring ion or that we use then in farming in hunting and do all sorts of things that actually makes the society better that brings peace and unity that makes people feel good. Oogu was the blacksmith. So all this chants, all this all this tragic music is to remember Oogu to remember everything he has done for the society. But when you listen to the music of Shogo you will hear something like a kogun jaye a kogun jaye unless she is enjoying, keep enjoying your enemies should go and die something like that. You know, yes. These are two different ways of remembering people. Great. Well thank you so much. There's a lot of provocative thought here and a lot to think on. Especially I felt the color and the light and the camera it's all really interesting as far as theorizing for cinema so I have to go back and read it as well. But thank you so much for your talk. I hope all of those of you on one and enjoy the talk and hopefully if you want to be in touch with him his email is on the SOA website you can navigate that. So thank you so much for coming and we'll have another event. Is there another event next week? Next week, next Monday. All right, thank you so much. Thank you.