My understanding of the creative process is simply that all cultures and all concerns meet at a certain point, the human point in which everything is related to one another. That has been my creative experience.
WOLE SOYINKAAnd I believe that the best learning process of any kind of craft is just to look at the work of others.
More Wole Soyinka Quotes
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Everybody knows that fraternities are a normal culture in all colleges. It exists in all colleges. President Clinton was a member of a fraternity. In fact, anybody who goes to College in the United States is a member of a College fraternity. There is absolutely nothing evil or occultic about fraternity.
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Each time I think Ive created time for myself, along comes a throwback to disrupt my private space.
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I can look violence in the face and either reject or accept it.
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Well, some people say I’m pessimistic because I recognize the eternal cycle of evil. All I say is, look at the history of mankind right up to this moment and what do you find?
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I cannot accept the definition of collective good as articulated by a privileged minority in society, especially when that minority is in power.
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We all have our individual artistic temperaments as well as partisanships in creative directions. And we have strong opinions on the merits of the products of our occupation.
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You accept whoever you are interacting with, directly, or indirectly.
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Colonialism bred an innate arrogance, but when you undertake that sort of imperial adventure, that arrogance gives way to a feeling of accommodativeness. You take pride in your openness.
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But theater, because of its nature, both text, images, multimedia effects, has a wider base of communication with an audience. That’s why I call it the most social of the various art forms.
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Very conscious of the fact that an effort was being made to destroy my mind, because I was deprived of books, deprived of any means of writing, deprived of human companionship. You never know how much you need it until you’re deprived of it.
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You have the entire gamut of human experience captured in the mythology of the Yoruba. This is what makes the Yoruba mythology a natural source material for me in my creative endeavours.
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What I teach is literary criticism and comparative literature and so on and that’s my function, but from time to time it’s possible for me actually to help a writer. I read something and something strikes me then, I feel I can talk to that writer about it.
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There is only one home to the life of a river-mussel; there is only one home to the life of a tortoise; there is only one shell to the soul of man: there is only one world to the spirit of our race. If that world leaves its course and smashes on boulders of the great void, whose world will give us shelter?
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Intolerance has always been with us, you know. The moment you have ideology, we have intolerance, whether it’s the secular ideology or, you know ideocratic ideology, which always brings with it some kind of intolerance.
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And gradually they’re beginning to recognize the fact that there’s nothing more secure than a democratic, accountable, and participatory form of government. But it’s sunk in only theoretically, it has not yet sunk in completely in practical terms.
WOLE SOYINKA